|
|
|
|
|
21s
|
[Elvis Mitchell] For me, the most exciting period in the history of film
|
对我来说
电影史上最让人兴奋的时期
|
|
25s
|
is when movies with the word "black" in the title went from this…
|
就是许多电影的片名里
都有“黑”这个字的时期 从这个…
|
|
30s
|
to this.
|
…到这个
|
|
43s
|
My excitement was not just because there was finally truth in advertising
|
我的兴奋不仅仅是因为
广告中终于有了真实
|
|
48s
|
but because I got to see a first in the movies,
|
还因为我在电影里第一次看到
|
|
51s
|
a procession of assured Black talent.
|
一批有才华的黑人
|
|
55s
|
Pam Grier aglow in Friday Foster,
|
帕姆·格里尔在早期漫画改编的
|
|
57s
|
an early comics adaptation.
|
《星期五福斯特》中大放光彩
|
|
1:00
|
Max Julien's contemporary take on film noir in The Mack.
|
马克斯·朱利安出演
当代黑色电影《麦克》
|
|
1:04
|
Charlie Russell's 1969 play Five on the Black Hand Side
|
查理·罗素1969年的戏剧
《黑手边的五个人》
|
|
1:08
|
would hit the big screen four years later.
|
在四年后被搬上了大银幕
|
|
1:11
|
I ain't givin' up nothin' but bubble gum and hard times!
|
我什么也不会放弃
除了泡泡糖和艰难时光！
|
|
1:16
|
And I'm fresh outta bubble gum.
|
我刚吃完了泡泡糖
|
|
1:21
|
[Mitchell] And I wasn't alone in responding this way.
|
我并不是唯一一个这样回应的人
|
|
1:26
|
-[announcer] Hell Up in Harlem. -[announcer 2] The Black Godfather.
|
《哈莱姆地狱》 《黑教父》
|
|
1:30
|
[Mitchell] So, if this burst of freedom and fulfillment was so well-received
|
那么如果这种自由和满足的爆发
如此受欢迎
|
|
1:35
|
and the thirst never really went away,
|
渴望从未真正消失
|
|
1:38
|
why did these Black films stop getting made?
|
为什么这些黑人电影停止制作了？
|
|
1:55
|
[Mitchell] My grandmother told me that movies changed the way she dreamed.
|
我祖母告诉我
电影改变了她梦想的方式
|
|
2:00
|
She hailed from Mississippi.
|
她来自密西西比州
|
|
2:02
|
She said that movies turned her dreams into something resembling stories…
|
她说电影把她的梦想
变成了类似故事的东西
|
|
2:07
|
…and that first film she saw that embedded in her subconscious
|
她看到的第一部嵌入她潜意识的电影
|
|
2:11
|
was Dracula.
|
是《德古拉》
|
|
2:13
|
And its gothic chills and mezzo-operatic tone
|
电影中哥特式的寒意
和中音歌剧般的音调
|
|
2:16
|
made her afraid to sleep for a week.
|
让她一个星期都不敢睡觉
|
|
2:19
|
I am Dracula.
|
我是德古拉
|
|
2:22
|
Evil spirits?! Good gracious me! Well, there is evil spirits around here?
|
恶灵？我的天啊！这附近有恶灵吗？
|
|
2:25
|
Why sure, the place is crawling with 'em. And that ain't all.
|
当然 这地方到处都是
这还不是全部
|
|
2:29
|
What? There's more?
|
什么？还有别的？
|
|
2:30
|
[Mitchell] But movies that showed African Americans facing fear
|
但那些展示非裔美国人
面对恐惧的电影
|
|
2:33
|
brought that to the screen in a way that was dehumanizing and surreal.
|
却以一种非人性和超现实的方式
将这种恐惧搬上了银幕
|
|
2:38
|
Who is they?! Who is they?!
|
他们是谁？
|
|
2:41
|
-Zombies. -[exclaims in fear]
|
僵尸
|
|
2:44
|
[Mitchell] This also demonstrates that, way more often than should happen,
|
这也表明被视为经典的电影
|
|
2:48
|
films regarded as classics had a way of letting Black people down.
|
往往会让黑人失望
而这种情况本不应该发生得这么频繁
|
|
2:53
|
At some point,
|
在某一时刻
|
|
2:54
|
you're likely to be assaulted by a cringe-worthy moment
|
你很可能会被某个大师的经典作品中
|
|
2:57
|
in something from the canon by one of the masters.
|
一个令人畏缩的时刻侮辱
|
|
3:00
|
Tossed-off stereotypes from the Master of Suspense,
|
摆脱了《悬疑大师》里的刻板印象
|
|
3:04
|
and one of film's most highly regarded dramatists,
|
电影界最受尊敬的剧作家之一
|
|
3:06
|
and the premier actor-director of musicals
|
作为音乐剧的首演演员兼导演
|
|
3:09
|
continue to leave a mark.
|
他继续留下了自己的印记
|
|
3:12
|
Orson Welles and Laurence Olivier, giants in theater and the movies,
|
奥逊·威尔斯和劳伦斯·奥利弗
这两位戏剧和电影巨匠
|
|
3:16
|
slathered on blackface and benign superiority
|
大量使用涂黑的脸与和善的优越感
|
|
3:20
|
to take on Othello.
|
来出演《奥赛罗》
|
|
3:22
|
A closet lock and key of villainous secrets.
|
藏着邪恶秘密的壁橱锁和钥匙
|
|
3:27
|
[Mitchell] I have never been able to see Mickey Mouse in those gloves
|
因此当我看到米奇戴着那副手套
|
|
3:30
|
or Bugs Bunny, for that matter, and not think of minstrel shows.
|
或兔八哥时
我就会想到吟游诗人的表演
|
|
3:35
|
What else were we to assume? They were dressing for the Harvard Club?
|
我们还能假设什么呢？
他们穿着哈佛俱乐部的服装？
|
|
3:38
|
-Did you ever see an elephant fly? -[chuckles] Well, I seen a horsefly.
|
你见过大象飞吗？ 好吧 我看到一只马蝇
|
|
3:42
|
[exclaims] I seen a dragonfly.
|
我看见一只蜻蜓
|
|
3:45
|
-I seen a housefly. -[audience laughs]
|
我看见一只家蝇
|
|
3:48
|
[crow] See, I seen all that…
|
瞧 我都看到了…
|
|
3:49
|
[Mitchell] These were probably some of the scenes
|
这可能是一些
|
|
3:51
|
that made their way into my grandmother's subconscious,
|
进入我祖母潜意识的场景
|
|
3:54
|
fragments that she had to fight from overtaking her image of herself,
|
这些片段是她必须努力克服的
以免这些占据她对自己形象的认知
|
|
3:57
|
along with the way she was treated as a young woman of color in Mississippi.
|
以及她作为一个年轻的有色人种女性
在密西西比被对待的方式
|
|
4:01
|
Her awareness of images was such that, when we visited her in Hattiesburg,
|
当我们去哈蒂斯堡拜访她时
她对图像的认知如此敏锐
|
|
4:05
|
she wouldn't let us watch reruns of The Andy Griffith Show.
|
她不让我们看
《安迪·格里菲斯秀》的重播
|
|
4:09
|
She would say,
|
她会说
|
|
4:10
|
"There's no Black people in that Southern town."
|
“那个南方小镇没有黑人”
|
|
4:12
|
"What do you think happened to them?"
|
“你认为他们发生了什么事？”
|
|
4:15
|
All this can sure make it hard for me to love the movies.
|
所有这些
肯定会让我很难爱上那部电影
|
|
4:19
|
For me, it's been a lifetime of watching, and thinking, and writing about movies.
|
对我来说 这辈子都是在
看电影、思考电影、写电影的影评
|
|
4:25
|
I keep coming back,
|
我不断地回看
|
|
4:26
|
despite the waves of disregard they keep hitting me with.
|
尽管这些电影
一波又一波地无视我们种族
|
|
4:30
|
The diminution can feel like a mountain.
|
这种不受尊重的感觉就像一座山
|
|
4:34
|
Maybe the simplest way to explain representation is this.
|
也许解释媒体中社会群体
最简单的方法是这样的
|
|
4:38
|
If you were a white actor,
|
如果你是一个白人演员
|
|
4:40
|
formal wear implied preparing for a night on the town
|
正装意味着准备在城里度过一个夜晚
|
|
4:43
|
and all the pleasures life had to offer.
|
享受生活中所有的乐趣
|
|
4:46
|
If you were a Black actor, a black bow tie wasn't putting on the ritz.
|
如果你是一名黑人演员
黑色领结并不能让你显得豪华
|
|
4:49
|
It meant you were going to work. It was your uniform.
|
这意味着你要去工作了
那是你的制服
|
|
4:53
|
Now, I like a well-assembled ensemble as much as the next person,
|
现在 我和其他人一样
喜欢精心搭配的服装
|
|
4:57
|
probably more so,
|
可能更喜欢
|
|
4:58
|
but I've never really been a fan of tuxedos.
|
但我从来都不太喜欢燕尾服
|
|
5:02
|
Maybe that's why.
|
也许这就是原因
|
|
5:06
|
♪ Ol' man river ♪
|
（《演艺船》1929年
导演：哈利·波拉德）
|
|
5:09
|
♪ That ol' man river ♪ ♪ He must know somethin' ♪
|
（《演艺船》1936年
导演：詹姆斯·惠尔）
|
|
5:15
|
♪ But don't say nothin'… ♪
|
（《演艺船》1951年
导演：乔治·西德尼）
|
|
5:19
|
[Mitchell] Rather than seek out and develop new roles for Black actors,
|
《演艺船》这种老套的比喻
并没有为黑人演员
|
|
5:22
|
the tired tropes of Show Boat functioned as a way
|
寻找和发展新的角色
|
|
5:25
|
to showcase Black talent through recycling.
|
而是通过循环利用来展示黑人的才艺
|
|
5:28
|
The on-screen crushing of Black hope was institutional,
|
银幕上对黑人希望的碾压是制度性的
|
|
5:31
|
from saying there were barely any roles for Black men
|
从说黑人男性
几乎没有任何可以出演的角色
|
|
5:34
|
to an unreal standard of beauty
|
到不真实的美貌标准
|
|
5:37
|
that guaranteed decades of self-hatred for Black women.
|
保证了数十年来
黑人女性的自我仇恨
|
|
5:40
|
Here she comes.
|
她来了
|
|
5:42
|
This is the part I really like. This is when she does that shit with her hair.
|
这是我最喜欢的部分
她把头发弄成那样
|
|
5:45
|
[Mitchell] This role wasn't written for a Black actor
|
这个角色不是为黑人演员写的
|
|
5:48
|
but oddly made an inadvertent comment
|
但却无意中奇怪地对最理想的发型
|
|
5:50
|
about the most desirable kind of hair…
|
但却无意中奇怪地对最理想的发型 发表了评论
|
|
5:54
|
…a lesson Black women are still dealing with.
|
这是一个黑人女性仍在面对的问题
|
|
5:59
|
[Martin Luther King Jr] Well, in my, uh, days in Atlanta as a child,
|
我小时候在亚特兰大的时候
|
|
6:02
|
there was a pretty strict system of segregation.
|
当时有非常严格的种族隔离制度
|
|
6:06
|
I could not attend any of the theaters.
|
我不能去任何一家剧院
|
|
6:08
|
Only, uh… There were one or two Negro theaters.
|
只有… 有一、两个黑人剧院
|
|
6:13
|
Uh, they were very small, but, uh, they did not get the main pictures.
|
它们很小 但都没有主流的影片
|
|
6:18
|
If they got them, they were two years later, three years late.
|
如果拿到了
它们也会是晚两、三年的时间
|
|
6:22
|
So that, uh, by and large, there was a very strict system of segregation.
|
所以总的来说
当时有非常严格的种族隔离制度
|
|
6:31
|
My Saturdays was basically spent in the movies.
|
我的周六基本上都在看电影
|
|
6:33
|
-[pleasant music playing] -We would watch serialized Westerns,
|
我们会看连载的西部片
|
|
6:37
|
like, you know, Lash LaRue, Gene Autry, Roy Rogers,
|
就像拉什·拉鲁、吉恩·奥特里
罗伊·罗杰斯
|
|
6:41
|
stuff like that, or Buck Rogers, you know, some outer space stuff.
|
诸如此类的 或是《巴克·罗杰斯》
你知道的 一些外太空的东西
|
|
6:45
|
[Suzanne De Passe] I was very interested in Westerns.
|
我对西部片很感兴趣
|
|
6:49
|
For some reason, I loved Westerns.
|
出于某种原因 我喜欢西部片
|
|
6:51
|
Gene Autry and Johnny Mack Brown and Roy Rogers…
|
吉恩·奥特里、约翰尼·麦克·布朗
罗伊·罗杰斯
|
|
6:54
|
[chuckling] …and all these cowboy shows.
|
还有各种牛仔节目
|
|
6:57
|
So I'd go to the Los Angeles Theatre. It was this big palace like the old days,
|
所以我会去洛杉矶剧院
那里就像以前的大宫殿一样
|
|
7:02
|
and it was still kept in great shape.
|
而且现在仍然保存得很好
|
|
7:04
|
And so I'd just kick back, sometimes be the only one there,
|
所以我只是去放松一下
有时候只有我一个人在那里
|
|
7:07
|
and I had this big old theater all to myself.
|
整个偌大的剧院只有我一个人
|
|
7:09
|
All that stuff by John Ford, Monument Valley, all that kind of stuff.
|
所有约翰·福特的作品
纪念碑谷之类的
|
|
7:12
|
I think those things sort of… sort of grew on me.
|
我觉得那些东西越来越吸引我了
|
|
7:15
|
I'd seen really good… good stories.
|
我看到了非常好的故事
|
|
7:18
|
I am going to the movies with my father,
|
我以前和爸爸去看电影
|
|
7:22
|
and he is taking me to see the movies that he likes.
|
他会带我去看他喜欢的电影
|
|
7:26
|
Movies that have people like John Wayne in them and Steve McQueen.
|
有约翰·韦恩和史蒂夫·麦奎因
这样的人出演的电影
|
|
7:33
|
I remember Band of Angels…
|
我记得《天使乐队》
|
|
7:35
|
[laughs] …you know, 'cause I remember when Sidney Poitier slapped her.
|
因为我记得
西德尼·波蒂埃扇她耳光的时候
|
|
7:40
|
The film cut out, and you came back. She was standing there holding her face.
|
电影一停 你回过神来
她站在那里捂着脸
|
|
7:44
|
We were like, "What just happened?" My mom said, "He slapped her."
|
我们说：“刚刚发什么了什么？”
我妈妈说：“他扇了她”
|
|
7:47
|
"What?! For real?"
|
“什么？真的吗？”
|
|
7:49
|
"They can't show that, but he slapped her."
|
“他们展示不了那个画面
但他扇她了”
|
|
7:52
|
If you're a movie lover, you go to the movies you're interested in seeing.
|
如果你是个电影迷 你去看你感兴趣的电影
|
|
7:56
|
And it's not until after you get into the middle of the movie do you realize,
|
直到看了一半你才意识到
|
|
8:00
|
"Oh, there's no Black people in this movie." [laughs]
|
“这部电影里没有黑人”
|
|
8:03
|
You're just munching the popcorn, and it's like,
|
你一边嚼着爆米花 一边想
|
|
8:06
|
"Did you-- Have-- Is it me, or is there no Black people in this movie?"
|
“你… 有… 是我的问题
还是这部电影里没有黑人？”
|
|
8:10
|
"There's no Black people in the movie." "Oh, okay."
|
“是电影里没有黑人” “好吧”
|
|
8:13
|
[Mitchell] We wanna see ourselves…
|
我们想看到自己…
|
|
8:16
|
…some kinda way, you know.
|
…以某种方式出演 你知道
|
|
8:18
|
Uh, yeah, 'cause, like I said, when… when I was a "kid" kid,
|
对 因为就像我说的
当我还是个小孩时
|
|
8:22
|
the Black people in the movies… We had Stepin Fetchit…
|
电影里的黑人
我们知道斯泰平·费奇特…
|
|
8:25
|
What are you looking for?
|
你在找什么？
|
|
8:28
|
Where'd you learn to be a barber?
|
你在哪里学的理发？
|
|
8:30
|
[Jackson] …Willie Best,
|
…威利·百斯特
|
|
8:33
|
Alfalfa, Buckwheat, Stymie…
|
埃奥法尔法、巴克威特、史戴米…
|
|
8:39
|
but I still wanted to be them!
|
但我还是想成为他们！
|
|
8:41
|
Hiya, Buckwheat.
|
你好 巴克威特
|
|
8:42
|
[Jackson] I didn't know any Black kid that played with white kids,
|
我不知道有哪个黑人小孩
会和白人小孩一起玩
|
|
8:45
|
let alone hung out with 'em, you know, and, you know, went to their houses,
|
更不用说和他们待在一起
还能去他们家
|
|
8:49
|
or they came to their houses and did stuff, so…
|
或者他们去他们家做些什么
|
|
8:51
|
Our Gang was like… totally like, "Wow! Where the… Where the hell do they live?"
|
《我们这一帮》完全就像是
“哇！他们到底住在哪儿？”
|
|
8:56
|
I mean, I grew up in segregation,
|
我是说 我在种族隔离中长大
|
|
8:58
|
so from the time I could talk, walk, see, make sense of things,
|
所以从我能说话、能走路、能看
能理解事物的那一刻起
|
|
9:04
|
the world was separate.
|
这世界就是隔离的
|
|
9:07
|
But when I went to the movies… The movies is the stuff of fantasies. You know?
|
但当我去看电影的时候…
电影是幻想的东西
|
|
9:11
|
When I went to the movies, I came home, and I wanted to be that pirate that I saw.
|
当我去看电影的时候 我回到家
我想成为我看到的那个海盗
|
|
9:17
|
But…
|
但是…
|
|
9:19
|
I needed a Black cowboy.
|
我需要一个黑人牛仔
|
|
9:23
|
[Zendaya] We have so many stories to tell.
|
我们有很多故事要讲
|
|
9:25
|
We just wanna see more of us existing in all different forms,
|
我们只是想看到
更多的我们以不同的形式存在
|
|
9:29
|
and I think that is a common frustration, I think, amongst my peers.
|
我认为这是我的同龄人中常见的失望
|
|
9:33
|
We just wanna see us just being kids or, like, in sci-fi, whatever.
|
我们只是想看我们小时候的样子
或者像科幻小说里那样
|
|
9:38
|
[Fishburne] I think, like most people,
|
我认为像大多数人一样
|
|
9:39
|
I engage with the movies in the way that you engage with your dreams.
|
我对这些电影的迷恋 就像对梦一样
|
|
9:42
|
While enjoying those pictures that I was seeing,
|
当我欣赏这些画面的时候
|
|
9:45
|
I was also projecting
|
我也在勾勒
|
|
9:48
|
and trying to visualize myself on the screen, maybe.
|
并试着在屏幕上想象我自己
|
|
9:53
|
[Margaret Avery] As a little girl, all I saw in the movies were people that didn't look like me.
|
当我还是个小姑娘时 我在电影里
看到的都是和我不一样的人
|
|
9:59
|
So I didn't really believe that I could ever become an actress.
|
所以我真的没太相信
我能成为一名演员
|
|
10:03
|
Until I saw Harry Belafonte and Dorothy Dandridge in Carmen Jones.
|
直到我在《卡门·琼斯》里看到
哈利·贝拉方特和多萝西·丹德里奇
|
|
10:09
|
And when I saw them, I said, "Oh wow!"
|
当我看到他们的时候
我说：“哦 哇！”
|
|
10:14
|
"Maybe I could become an actress."
|
“也许我可以成为一名演员”
|
|
10:18
|
[Mitchell] Dorothy Dandridge was paired three times
|
多萝西·丹德里奇曾三次
|
|
10:20
|
with a figure who became a star in every arena
|
与一个人物搭档
这个人在所有领域都成为了明星
|
|
10:23
|
except for the one that he was most qualified,
|
除了他最胜任的一个领域
|
|
10:26
|
movies.
|
电影领域
|
|
10:26
|
That was Harry Belafonte.
|
那就是哈利·贝拉方特
|
|
10:29
|
Dandridge matched Belafonte in talent and temperament.
|
丹德里奇在天赋和气质上
与贝拉方特不相上下
|
|
10:32
|
Only the towering presence of racism could blind anyone
|
只有种族主义的强烈存在
才会让人看不到
|
|
10:36
|
to their adaptable charisma.
|
他们适应性强、具有超凡魅力
|
|
10:38
|
That kept them from more on-screen pairings.
|
这让他们没有更多的银幕配对
|
|
10:47
|
[Mitchell] Belafonte's success as a singer sprang from his training as an actor.
|
贝拉方特作为歌手的成功
源于他作为演员的训练
|
|
10:52
|
He brought the deportment of a storyteller to music.
|
他把讲故事之人的风度融入了音乐
|
|
10:55
|
His extraordinary presence, he had the physical arrogance of an athlete,
|
他超凡的风度
运动员身体的那种傲慢
|
|
10:59
|
and an emotional immersion in character,
|
以及对角色的情感投入
|
|
11:02
|
signaled his on-screen gifts immediately.
|
立刻显示出他在银幕上的天赋
|
|
11:05
|
But he bristled against a system that not only had no idea how to use him
|
但他对一个不仅不知道如何使用他
而且非常害怕他的系统
|
|
11:10
|
but was so afraid of him
|
感到愤怒
|
|
11:11
|
that his singing voice wasn't used in Carmen Jones.
|
他的歌声
没有在《卡门·琼斯》中使用
|
|
11:16
|
♪ I saw it fade and lose its bloom ♪
|
（《卡门·琼斯》1954年
导演：奥托·普雷明格）
|
|
11:21
|
[Mitchell] So in 1959,
|
所以在1959年
|
|
11:23
|
he responded by producing a project that brought in director Robert Wise,
|
作为回应 他制作了一个项目
请来了导演罗伯特·怀斯
|
|
11:27
|
actor Ed Begley, who both won Oscars a few years later,
|
演员埃德·贝格利
这两位都在几年后获得了奥斯卡奖
|
|
11:31
|
blacklisted screenwriter Abe Polonsky,
|
列入黑名单的编剧亚伯·波隆斯基
|
|
11:33
|
and the Modern Jazz Quartet.
|
和现代爵士四重奏乐队
|
|
11:38
|
Odds Against Tomorrow was just a remarkable thing for its day,
|
《末日将至》在当时来说
是个了不起的电影
|
|
11:44
|
and, uh, the fact that I was given the opportunity
|
事实上 能有机会
|
|
11:47
|
to make that kind of film
|
拍那样的电影
|
|
11:50
|
really meant a lot to me.
|
对我来说意义重大
|
|
11:51
|
♪ What's the matter, pretty baby? ♪ ♪ Tell me, what's your daddy done? ♪
|
（《末日将至》1959年
导演：罗伯特·怀斯）
|
|
12:12
|
Hi, baby. What's shaking?
|
嗨 宝贝 你好吗？
|
|
12:15
|
Bacco wants to buy you a drink.
|
巴科想请你喝一杯
|
|
12:18
|
And I wanna buy you a shiny new car.
|
我还想给你买辆崭新的车
|
|
12:20
|
[Mitchell] Odds Against Tomorrow was an unforgettable film.
|
《末日将至》是一部令人难忘的电影
|
|
12:23
|
The last film noir of its era
|
这是那个时代的最后一部黑色电影
|
|
12:25
|
that was also ahead of its time with an honest look at race,
|
它也因为以诚实的视角看种族
超前了那个时代
|
|
12:29
|
which means, of course, it was ignored.
|
当然这也意味着 它被忽视了
|
|
12:31
|
Opportunities came Belafonte's way,
|
贝拉方特遇到了机会
|
|
12:34
|
but the projects he was offered didn't remotely interest him.
|
但他对找来的项目
一点也不感兴趣
|
|
12:37
|
[Belafonte] Sidney Poitier, up until then,
|
西德尼·波蒂埃 在那之前
|
|
12:40
|
had been the most popular Black figure in the universe,
|
曾一直是宇宙中最受欢迎的黑人形象
|
|
12:44
|
but he was Sidney Poitier.
|
但他是西德尼·波蒂埃
|
|
12:47
|
He was not Sidney Poitier in a Black environment,
|
他不是黑人环境下 黑人情境下的
|
|
12:50
|
in a Black circumstance.
|
西德尼·波蒂埃
|
|
12:52
|
He was Sidney Poitier playing a Black person in an all-white movie.
|
他是在一部全是白人的电影中
扮演黑人的西德尼·波蒂埃
|
|
12:58
|
First thing I ask myself is, "What is a Black man,
|
我问自己的第一件事是：“一个黑人
|
|
13:02
|
came from nothing, going nowhere,
|
出身平凡 不知前路
|
|
13:04
|
all of a sudden in the middle of seven Nazi nuns?"
|
突然和七个纳粹修女混在一起
这算什么？”
|
|
13:09
|
I… I turned it down.
|
我拒绝了
|
|
13:12
|
And they offered it to Sidney, and Sidney took it.
|
他们把角色给了西德尼 他接受了
|
|
13:16
|
-The winner is Sidney Poitier… -[applause]
|
获胜者是西德尼·波蒂埃
|
|
13:23
|
[Mitchell] Rather than submit himself to material
|
他没有屈从于那些
|
|
13:25
|
that didn't depict the Black community in a meaningful way,
|
以一种没有什么意义的方式
描绘黑人社区的素材
|
|
13:28
|
or at all, for that matter,
|
或者根本没意义 就这点来说
|
|
13:30
|
Harry Belafonte chose not to appear in movies from 1959 until 1970.
|
哈利·贝拉方特选择不出现在
从1959年到1970年的电影中
|
|
13:35
|
To my mind, that made him the Muhammad Ali of the film world,
|
在我看来 这让他成为了
电影界的穆罕默德·阿里
|
|
13:39
|
forced in his prime away from the arena in which he belonged.
|
在他的全盛时期
被迫离开了属于他的舞台
|
|
13:43
|
[Belafonte] Not one picture I turned down did I regret not doing.
|
我拒绝的电影
没有一部是我后悔没有拍的
|
|
13:47
|
Mm-mm. Wasn't in my… wasn't in my turf.
|
不是我想要的
|
|
13:50
|
I didn't resent any of them.
|
我不怨恨他们中的任何一个
|
|
13:52
|
I'm glad others got an opportunity and went off and did it, but my initial…
|
我很高兴别人得到了这样的机会
接受就去演了 但我最初的…
|
|
13:57
|
First and foremost, I'm an artist.
|
首先最重要的是 我是个艺术家
|
|
14:00
|
I'm an actor.
|
我是个演员
|
|
14:01
|
And I came out of a school with Marlon Brando, Walter Matthau,
|
我和马龙·白兰度、沃尔特·马索
罗德·斯泰格
|
|
14:05
|
Rod Steiger, Tony Curtis,
|
托尼·柯蒂斯同属一个流派
|
|
14:08
|
with a director that gave us no quarter.
|
还有一个对我们毫不留情的导演
|
|
14:12
|
I'm not gonna do anything other than what I think is worthy of being done.
|
我不会做任何我认为不值得做的事
|
|
14:17
|
And fortunately for me, I was a runaway success
|
对我来说幸运的是 我在这个世界上
|
|
14:21
|
in the world at large
|
取得了巨大的成功
|
|
14:22
|
because I had a globe so passionately approving
|
因为全世界都对我
|
|
14:27
|
of my presence in their midst
|
在他们中间的存在热情地赞同
|
|
14:29
|
that nobody could dismiss the fact
|
没有人会否认一个事实
|
|
14:31
|
that that thing on the horizon called Belafonte
|
那就是地平线上那个叫贝拉方特的人
|
|
14:34
|
could really not be fucked with.
|
真的不能被轻易对待
|
|
14:37
|
Because anytime anybody came up and gave me an ultimatum,
|
因为只要有人来给我下最后通牒
|
|
14:40
|
I said, "Fuck you. I'm going to Paris."
|
我会说：“去你的 我要去巴黎了”
|
|
14:42
|
"I'll probably live there if I like, but I… I have a destination
|
“如果我喜欢 我可能会在那里生活
但我有一个目的地
|
|
14:46
|
that answers your… your denial of what I could be."
|
来给你回答
你想让我演的角色 我拒绝”
|
|
14:51
|
Just me.
|
只有我
|
|
14:55
|
I'm here.
|
（《世界、肉体与魔鬼》1959年
导演：拉纳尔德·麦克杜格尔） 我来了
|
|
14:56
|
[Mitchell] Belafonte's resolve literally took him out of the picture.
|
贝拉方特的决心让他彻底出局了
|
|
15:00
|
But as frustration mounted
|
但当要求纠正和民权的
|
|
15:01
|
for people of color demanding redress and civil rights,
|
有色人种沮丧情绪与日俱增时
|
|
15:05
|
movies lagged behind.
|
电影落在了后面
|
|
15:07
|
To use a Langston Hughes quote that inspired a play and a movie,
|
引用兰斯顿·休斯的一句话
这句话启发了一部戏剧和一部电影
|
|
15:11
|
"What happens to a dream deferred?"
|
“推迟的梦会怎么样？”
|
|
15:13
|
"Does it dry up… [chuckles] …like a raisin in the sun?"
|
“它会像太阳下的葡萄干一样
晒干吗？”
|
|
15:16
|
"Maybe it just sags like a heavy load."
|
“也许它只是
像一个沉重的负担一样下垂”
|
|
15:20
|
"Or does it explode?"
|
“还是会爆炸？”
|
|
15:27
|
[man] We've been beaten and getting beat and getting beat,
|
我们被痛打 一遍一遍不断被痛打
|
|
15:30
|
and we've just decided to do something about it now!
|
我们决定现在就做点什么！
|
|
15:34
|
[Mitchell] Decades of punishing mistreatment of people of color
|
数十年对有色人种的惩罚虐待
|
|
15:37
|
made the 20th century an epoch of revolt.
|
让20世纪成为反抗的时代
|
|
15:40
|
The 1960s body politic suffered through civil eruptions almost every year.
|
20世纪60年代的政治团体
几乎每年都要经历内战的爆发
|
|
15:46
|
1965 saw one sweep through Los Angeles.
|
1965年 飓风横扫洛杉矶
|
|
15:50
|
[Burnett] The thing about the Watts Riot is that you could have anticipated it.
|
瓦茨暴动的问题是你本可以预料到的
|
|
15:53
|
It was clear that was gonna happen. There was gonna be an explosion.
|
很明显这是迟早的事 会有一场爆炸
|
|
15:57
|
Police were killing people.
|
警察在杀人
|
|
15:58
|
They've always been killing people, been terrorizing the community.
|
他们一直在杀人、恐吓这个社区
|
|
16:03
|
If I went to a show at night,
|
如果我晚上去看演出
|
|
16:04
|
I knew I was gonna get stopped at one point by the police.
|
我知道自己会被警察拦下
|
|
16:08
|
It's just a thing where our lives
|
在这种情况下就能看到 我们的生命
|
|
16:12
|
didn't matter, it seemed, you know.
|
似乎并不重要 你知道的
|
|
16:15
|
[Mitchell] By 1968, America was in free fall.
|
到1968年 美国的情况急转直降
|
|
16:19
|
There had been over 20 riots, with over half happening in 1967,
|
总共发生了20多起骚乱
其中一半以上发生于1967年
|
|
16:24
|
including my hometown.
|
我的家乡也不例外
|
|
16:26
|
Law and order have broken down in Detroit, Michigan.
|
密歇根州
底特律市的法律和秩序已经崩溃
|
|
16:31
|
[reporter] This is a shot along Linwood.
|
这是沿着林伍德社区拍摄的
|
|
16:33
|
The flames and the feelings were running hotter
|
火势和情绪愈演愈烈
|
|
16:35
|
than either the mayor or the governor anticipated.
|
远远超出市长和州长的预期
|
|
16:39
|
[Mitchell] Revolt broke out in movies too,
|
电影中也爆发了反抗
|
|
16:41
|
in the independent film world.
|
在独立电影界
|
|
16:43
|
There, Black life didn't exist
|
在那里 黑人的生活
|
|
16:45
|
only in the periphery of the white man's gaze,
|
并不仅仅存在于白人主导世界的边缘
|
|
16:48
|
and there was often room for more than one Black person on-screen.
|
屏幕上通常有不止一个黑人的空间
|
|
16:52
|
And two of those Black talents on-screen
|
其中两名黑人天才同时在银幕上
|
|
16:54
|
simultaneously gave movie-star performances
|
给电影明星的表演
|
|
16:58
|
that did not lead to movie stardom.
|
但并没有让他们成为电影明星
|
|
17:01
|
Well, what you doin' with a cat like me in a joint like this?
|
你怎么会和我这样的男人
在这样的地方？
|
|
17:06
|
You don't think much of yourself, do you?
|
别太自视甚高 好吧？
|
|
17:08
|
[Mitchell] In a more just world,
|
在一个更加公平的世界里
|
|
17:10
|
the heat and tension sparked by Ivan Dixon and Abbey Lincoln
|
伊万·迪克森和艾比·林肯
在《无为之人》中
|
|
17:13
|
in Nothing But a Man
|
所引发的热度和紧张
|
|
17:15
|
would have been a catalyst for larger careers and recognition.
|
本可以成为更大的事业
和认可的催化剂
|
|
17:24
|
[Mitchell] Davis, with his abundant talents as singer, actor, and showman,
|
戴维斯作为歌手、演员和表演家
有着多样的才华
|
|
17:28
|
was certainly capable of it.
|
绝对有能力胜任
|
|
17:30
|
He showed a velvet control as a mercurial, pleasure-seeking ego trip
|
在1966年《一个叫亚当的人》中
他以一种天鹅绒般丝滑的控制
|
|
17:34
|
in 1966's A Man Called Adam.
|
表现了一场反复无常
追求享乐的自我之旅
|
|
17:37
|
He acted along with Cicely Tyson, Ja'Net DuBois,
|
他与西塞莉·泰森
贾内特·杜波依斯合作
|
|
17:40
|
and in a silent tiny role, Morgan Freeman,
|
出演一个沉默的小角色
摩根·弗里曼
|
|
17:44
|
who'd have to wait nearly 20 years to get a role to show power
|
摩根等了将近20年
才得到一个角色
|
|
17:48
|
and the ability to speak.
|
展示权力和说话的能力
|
|
17:49
|
Davis holds the movie in his clenched fist until the last act
|
直到最后一幕 戴维斯一直
在电影中紧握着拳头不屈服
|
|
17:53
|
in which he basically apologizes for all the damage his character wreaked.
|
最后一幕可以总结为
他为自己的性格造成的所有伤害道歉
|
|
17:59
|
All right, I was wrong, okay?
|
好吧 是我错了 好吗？
|
|
18:01
|
I shoulda waited to find out what it was all about,
|
我应该等着看到底是怎么回事
|
|
18:05
|
maybe let her break your head with a bottle.
|
也许应该让她用瓶子砸你的头
|
|
18:07
|
Honey, all I saw
|
亲爱的 我只看到了
|
|
18:09
|
was that old chick's hands on that toodle doddle--
|
那个老女人的手
在摸那个嘟嘟的…
|
|
18:13
|
Adam.
|
亚当
|
|
18:17
|
[Mitchell] Van Peebles insertion of Black life without self-pity
|
范·皮布尔斯将黑人生活毫不自怜地
|
|
18:21
|
into the art-house world was a fresh, new breeze.
|
插入到艺术电影世界中
是一种新鲜的、全新的风向
|
|
18:31
|
Studio movies were trapped in their old-fashioned patriarchal need
|
电影公司的电影
被困在老式的父权制需求中
|
|
18:35
|
to shape the culture
|
它们需要塑造文化
|
|
18:36
|
rather than respond to it.
|
而不是回应文化
|
|
18:38
|
The corpses of misguided musicals for all ages,
|
给所有年龄段观看的
被误导的音乐剧演员发笑忘词
|
|
18:41
|
such as this, um… [questioningly] …awesome Best Picture nominee.
|
比如这个… 很棒的最佳影片提名
|
|
18:46
|
But the best news of '68 was Sidney Poitier's graduation
|
但1968年最好的消息是
西德尼·波蒂埃
|
|
18:50
|
from self-sacrifice for miscast white movie stars
|
不再给白人电影明星
做不恰当配角的自我牺牲
|
|
18:54
|
to world domination.
|
变成了世界主宰
|
|
18:55
|
Both Guess Who's Coming to Dinner and In the Heat of the Night
|
《猜猜谁来吃晚餐》
和《炎热的夜晚》两部电影
|
|
18:59
|
went wide release in 1968, the year of their Best Picture nominations,
|
都是在1968年上映的
那一年它们获得了最佳影片的提名
|
|
19:04
|
where his white costars gazed at his magnificent intensity.
|
与他合作的白人主演们
都注视着他的辉煌
|
|
19:08
|
Don't misunderstand me.
|
别误会
|
|
19:11
|
I love your daughter. There is nothing I wouldn't do
|
我爱你们的女儿 为了让她
|
|
19:14
|
to try to keep her as happy as she was the day I met her.
|
像我见到她时那样开心
我愿意做任何事
|
|
19:16
|
But it seems to me, without your approval, we will make no sense at all.
|
但在我看来 没有你们的同意
我们将毫无意义
|
|
19:22
|
[Mitchell] As Mark Harris wrote in his book, Pictures at a Revolution,
|
马克·哈里斯在他的书
《革命中的照片》中写道
|
|
19:26
|
"Poitier is the top box office star in America."
|
“波蒂埃是美国票房最高的明星”
|
|
19:34
|
Unfortunately, he's also an example of the entertainment industry's reaction
|
不幸的是
他也是娱乐圈对有色人种成功的反应
|
|
19:39
|
to success by people of color.
|
其中一个例子
|
|
19:41
|
No one seems to think that if Sidney Poitier can draw audiences,
|
似乎没有人认为
西德尼·波蒂埃能吸引观众
|
|
19:45
|
then surely one other Black man or woman might possibly be able to do so.
|
那么其他黑人男性或女性
肯定也可以做到这一点
|
|
19:51
|
This is a time when a Black person talking to a white person on-screen
|
这是一个黑人和白人在屏幕上交谈
|
|
19:55
|
was considered adult entertainment.
|
被认为是成人娱乐的时代
|
|
20:04
|
Black success in media
|
黑人在媒体上的成功
|
|
20:06
|
is often treated as the equivalent of finding a $100 bill on the subway,
|
通常被视为等同于
在地铁上捡到一张100美元的钞票
|
|
20:10
|
a non-repeatable phenomenon.
|
是一种不可重复的现象
|
|
20:13
|
When movies were first being built around, God help us, Elvis Presley
|
当电影最初围绕猫王
或甲壳虫乐队展开
|
|
20:17
|
or The Beatles,
|
虽然拍得并不好
|
|
20:19
|
whose first releases in the US were on a Black-owned record label,
|
他们在美国的第一张专辑
是基于黑人老板的唱片公司发行的
|
|
20:23
|
why wasn't anyone seeking out these women rock pioneers
|
为什么没有人
去寻找这些女性摇滚先驱
|
|
20:26
|
for careers in the movies?
|
在电影中拍摄职业生涯呢？
|
|
20:40
|
[Mitchell] It wouldn't be long for a new day, or night, to drop
|
用不了多久
就会有新的一天或夜晚降临
|
|
20:44
|
for where Black talent was most likely to be recognized,
|
黑人人才在这里最有可能得到认可
|
|
20:47
|
the independent film world.
|
独立电影界
|
|
20:49
|
Writer-director George Romero created a new kind of action hero
|
作家兼导演乔治·罗梅罗
创造了一种新的动作英雄
|
|
20:53
|
by putting a movie and a gun in the hand of Duane Jones, a Black actor,
|
他把电影和一把枪
放在黑人演员杜安·琼斯的手中
|
|
20:58
|
in one of the most influential films of all time.
|
那是有史以来最具影响力的电影之一
|
|
21:01
|
-I think you should just calm down. -[woman groans]
|
我觉得你应该冷静下来
|
|
21:04
|
Oh! I screamed, "Johnny! Johnny, help me!"
|
我尖叫：“强尼！强尼 救我！”
|
|
21:09
|
[Mitchell] Romero also breaks with tradition by never having the hero's race mentioned
|
罗梅罗也打破了传统
没有提到英雄的种族
|
|
21:13
|
because the role wasn't written for a Black actor.
|
因为这个角色不是为黑人演员写的
|
|
21:17
|
I'll be back to reinforce the windows and doors later.
|
我一会儿回来加固门窗
|
|
21:21
|
But you'll be all right for now, okay?
|
但你现在会没事的 好吗？
|
|
21:25
|
Okay?
|
好吗？
|
|
21:27
|
You want the Black guy with you.
|
你想让黑人和你在一起
|
|
21:29
|
[chuckles] You want the Black guy with you.
|
你想让黑人和你在一起
|
|
21:32
|
'Cause he's gonna help you get out.
|
因为他会帮你出去
|
|
21:34
|
See, if you kill him off, you're dead.
|
听着 如果你杀了他 你就死定了
|
|
21:36
|
See, we know how to get out.
|
听着 我们知道怎么出去
|
|
21:39
|
We know how to get away from the zombies.
|
我们知道怎么摆脱僵尸
|
|
21:43
|
We know how to get away from the, you know, killing plants,
|
我们知道如何摆脱那些致命的植物
|
|
21:46
|
anything that's coming to get you, 'cause we're used to…
|
任何来抓你的东西 我们都知道
如何摆脱 因为我们习惯了…
|
|
21:50
|
We know how to get outta the way.
|
我们知道怎么躲开
|
|
21:53
|
We know how to get outta the way and let… let other stuff happen.
|
我们知道如何避开 让其他事发生
|
|
21:59
|
[Mitchell] The depiction of the undead stalking potential victims
|
对僵尸跟踪潜在受害者的描述
|
|
22:02
|
and windows boarded up to keep them away
|
以及用木板封住窗户
不让他们靠近的画面
|
|
22:05
|
reminded me of TV riot footage.
|
让我想起了电视上的暴乱镜头
|
|
22:07
|
Never has a film been as loaded with allegory and metaphor,
|
从来没有一部电影
像《活死人之夜》那样
|
|
22:11
|
intentional and inadvertent, as Night of the Living Dead.
|
有意无意地充满了寓言和隐喻
|
|
22:24
|
All right, hit him in the head, right between the eyes.
|
好了 打他的头 正中眉心
|
|
22:28
|
[Mitchell] Because Jones dies, picked off after fighting to save whites,
|
因为琼斯死于为拯救白人而战
|
|
22:31
|
Night of the Living Dead was embraced by militant African Americans.
|
《活死人之夜》
受到了激进的非裔美国人欢迎
|
|
22:35
|
They felt it was a metaphor for not staying with your race.
|
他们觉得这是在暗示
不跟自己的种族在一起会发生什么
|
|
22:38
|
This was a sentiment I heard voiced by the boyfriends of my older sisters.
|
这是我从我姐姐们的男朋友那里
听到的情绪声音
|
|
22:42
|
Good shot! Okay, he's dead.
|
好枪法！ 好 现在他死了 我们去抓住他吧
再扔到火里一个
|
|
22:44
|
Let's go get him. That's another one for the fire.
|
好 现在他死了 我们去抓住他吧
再扔到火里一个
|
|
22:48
|
[Mitchell] And in an end as chilling as the movie itself,
|
在电影的结尾 他被杀
并被扔在一堆尸体上
|
|
22:52
|
he's killed and tossed onto a pile of corpses.
|
这和电影本身一样令人毛骨悚然
|
|
23:00
|
[Robert F. Kennedy] I have some very sad news for all of you,
|
我有一些非常悲伤的消息要告诉你们
|
|
23:03
|
and that is that Martin Luther King was shot and was killed tonight
|
那就是马丁·路德·金
今晚在田纳西州的孟菲斯
|
|
23:08
|
-in Memphis, Tennessee. -[crowd screaming]
|
被枪杀了
|
|
23:10
|
[Mitchell] Coming in the year of Dr. Martin Luther King's assassination
|
在马丁·路德·金遇刺的那一年
|
|
23:14
|
and only a few years after the murders of Medgar Evers and Malcolm X,
|
就在梅加·埃弗斯和
马尔科姆·艾克斯被谋杀的几年后
|
|
23:18
|
this movie death had larger implications
|
这部电影中的死亡事件所产生的影响
|
|
23:20
|
than this writer and director ever imagined.
|
超出了这位编剧和导演的想象
|
|
23:25
|
Living Dead's success should have been confirmation
|
《活死人》的成功应该证实了
|
|
23:27
|
of mainstream interest in Black actors.
|
主流社会对黑人演员的兴趣
|
|
23:30
|
In the year that includes Peter Sellers playing a character of Indian descent
|
1968年 彼得·塞勒斯
在讽刺电影《党派》中
|
|
23:34
|
in the movie biz satire The Party,
|
饰演印第安后裔角色
|
|
23:37
|
1968 was also a year with Yul Brynner as Pancho Villa,
|
同年 尤尔·布伦纳饰演潘乔·维拉
|
|
23:41
|
and unfortunately, Woody Strode as an Apache.
|
还有不幸的
伍迪·斯特罗德饰演阿帕奇
|
|
23:47
|
[TV host] American feature films have always been directed by white men,
|
（西德尼·波蒂埃《谁来爱你》）
|
|
23:50
|
even when the films dealt with Black life and used Black actors.
|
甚至涉及黑人生活
用黑人演员的电影也是如此
|
|
23:54
|
Black directors are excluded,
|
黑人导演被排除在外
|
|
23:55
|
although Blacks now make up 30% of the total moviegoing audience.
|
尽管黑人现在占了总观影人数的30%
|
|
23:59
|
And my associate, William Greaves, has just finished producing and directing
|
而我的同事威廉·格里夫斯
刚刚完成了他的第一部故事片
|
|
24:02
|
his first feature film, Take One and Take Two.
|
《一拍二拍》的制作和导演工作
|
|
24:05
|
It's in the final stages of editing.
|
现在是最后的编辑阶段
|
|
24:09
|
Hello, just to set the record straight,
|
你好 为了澄清事实
|
|
24:11
|
there've been a number of films of Black… by Black feature-film directors
|
40年代有很多电影使用黑人导演
|
|
24:15
|
in the '40s, like Powell Lindsay, Oscar Micheaux, and Bill Alexander.
|
比如鲍威尔·林赛
奥斯卡·米绍和比尔·亚历山大
|
|
24:19
|
These directors were denied access to Hollywood,
|
这些导演被拒绝进入好莱坞
|
|
24:22
|
and their films were seen only
|
他们的电影只能
|
|
24:23
|
in the Black communities across the country.
|
在全国的黑人社区看到
|
|
24:26
|
[Mitchell] One of the myths that did constantly resurface
|
在1968年到1978年间
|
|
24:29
|
during 1968 through '78,
|
其中一个不断浮出水面的神话是
|
|
24:31
|
when a handful of Black directors finally got to step behind the camera,
|
当少数黑人导演
终于有机会走到镜头后面
|
|
24:35
|
was that this was the first time Black directors got such chances.
|
那是黑人导演
第一次有这样的机会
|
|
24:40
|
In fact, because they had to,
|
事实上 因为他们必须这样做
|
|
24:42
|
African Americans often wrote and directed
|
非裔美国人经常编剧并导演
|
|
24:45
|
back when one person writing and directing was rare
|
那时一个人编剧与导演是很罕见的
|
|
24:48
|
and discouraged by the studios.
|
不被电影公司鼓励的
|
|
24:50
|
But the Black press supported these theaters and movies,
|
但黑人媒体支持这些影院和电影
|
|
24:53
|
even as they were ignored by the mainstream.
|
即使它们被主流忽略了
|
|
24:57
|
And, getting his start in the silent era,
|
在默片时代崭露头角的
|
|
25:00
|
was writer, director, and occasional actor Oscar Micheaux.
|
是编剧、导演
偶尔也做演员的奥斯卡·米绍
|
|
25:04
|
He made films for the circuit of Black theaters,
|
他为黑人影院拍摄电影
|
|
25:06
|
many of which were not in very good shape
|
其中很多预算非常紧缩
|
|
25:08
|
because there was not a consistent flow of Black films
|
因为尽管黑人观众数量一直很庞大
|
|
25:12
|
despite the consistency of Black audiences.
|
黑人电影数量却并不多
|
|
25:16
|
Keep in mind, many studios were afraid to offend Germany
|
别忘了 在1942年被纳粹驱逐之前
|
|
25:20
|
and risk losing that business,
|
许多电影公司都不敢得罪德国
|
|
25:21
|
until they were kicked out by the Nazis in 1942.
|
不敢冒险 怕失去生意
|
|
25:25
|
But African-American money wasn't good enough for them.
|
但他们不觉得非裔美国人的钱好
|
|
25:28
|
Many of those Black theaters were buildings and rooms
|
许多黑人影院都是
|
|
25:31
|
that were converted into movie theaters.
|
由建筑物和房间改造而成的电影院
|
|
25:34
|
On very small budgets, Micheaux and other filmmakers,
|
在很少的预算下
米绍和其他电影制作人
|
|
25:37
|
even some whites, created original material
|
甚至包括一些白人创作了原创素材
|
|
25:40
|
and adapted popular books they couldn't afford to pay much for,
|
改编了
他们并不太能负担起的流行书籍
|
|
25:44
|
but the authors went along
|
但作者们也同意了
|
|
25:45
|
because they wanted their books turned into movies.
|
因为他们想把自己的书拍成电影
|
|
25:52
|
Astaire often played master-servant relationships in his films,
|
阿斯泰尔经常在他的电影中
扮演主仆关系
|
|
25:56
|
exaggerated in scenes where he's tapping in front of a bunch of Black actors.
|
他在一群黑人演员面前
跳踢踏舞的场景表现得很夸张
|
|
26:03
|
As the studios continued to hammer out a crude mythology about African Americans,
|
当电影公司继续编织一个
关于非裔美国人的粗糙神话时
|
|
26:08
|
director Alice Guy-Blaché decided to do something else entirely.
|
爱丽丝·盖·布兰琪导演
决定做一些完全不同的事
|
|
26:12
|
In 1912, she directed A Fool and His Money,
|
1912年 她执导了《傻子和他的钱》
|
|
26:16
|
what's said to be the first film with an all-African-American cast.
|
据说这是第一部
全是非裔美国人主演的电影
|
|
26:20
|
Her artistry showed a playful clarity and did not diminish those actors.
|
她的艺术表现出一种俏皮的清晰
并没有削弱那些演员
|
|
26:29
|
She was successful enough in those days that studios sought her out,
|
她在那个年代非常成功
电影公司都找她谈工作
|
|
26:33
|
and given the care she used to make her art,
|
考虑到她在艺术创作上的用心
|
|
26:35
|
it was only logical that she turned down the chance
|
她拒绝拍摄首部《泰山》电影的机会
|
|
26:38
|
to make the first Tarzan movie.
|
是非常合乎逻辑的
|
|
26:42
|
The Black filmmakers of that era were hustling, driven cinema lovers
|
那个时代的黑人电影人
是忙碌的、干劲十足的电影爱好者
|
|
26:45
|
who worked an early version of independent film.
|
他们创作了独立电影的早期版本
|
|
26:49
|
Back in this day, "independent film" didn't mean
|
在那个年代 “独立电影”并不意味着
|
|
26:52
|
being a cool, desirable outsider
|
成为一个酷炫的、令人向往的
|
|
26:54
|
whose success got you access to incredible resources.
|
能让你获得不可思议资源的局外人
|
|
26:58
|
It meant you were locked out of the theaters
|
而是意味着你被电影院的老板
|
|
27:00
|
by the studios who owned them.
|
锁在外面了
|
|
27:02
|
You were left to invent ways to get your product to audiences.
|
你只能自己想办法
把你的产品推向受众
|
|
27:06
|
Micheaux and his like-minded spirits
|
米绍和他志同道合的人
|
|
27:09
|
were making dramas, comedies, musicals, and murder mysteries.
|
都在拍戏剧、喜剧
音乐剧和谋杀悬疑剧
|
|
27:14
|
Sometimes smashing the genres together into a single film
|
有时把不同类型的电影揉成一部电影
|
|
27:18
|
because their resources were limited
|
因为他们的资源有限
|
|
27:20
|
even though their ambitions were not.
|
尽管他们的野心非常之大
|
|
27:22
|
Because, for most of the history of the movies,
|
因为在电影历史的大部分时间里
|
|
27:26
|
studios have been content to leave Black money on the table,
|
电影公司一直满足于不理睬黑人的钱
|
|
27:29
|
and Black enterprise has responded, creating, as it always has,
|
而黑人企业也做出了回应
一如既往地创造了
|
|
27:33
|
a de facto underground economy and culture.
|
一种事实上的地下经济和文化
|
|
27:43
|
[Mitchell] Though we wouldn't see evidence of it until later,
|
虽然直到后来我们才看到它的证据
|
|
27:46
|
actor-turned-filmmaker William Greaves used the medium
|
但演员出身的电影制作人
威廉·格里夫斯
|
|
27:49
|
in a way that feels novelistic now.
|
以一种现在感觉很新奇的方式
使用了这种媒介
|
|
27:52
|
After losing interest in acting
|
在对表演失去兴趣之后
|
|
27:54
|
because of the simplistic uplift he'd been cast in…
|
因为他被给予的角色
都非常振奋活力…
|
|
27:57
|
Well, now, Aunt Hattie, everything moves fast in war.
|
好吧 哈蒂姑妈
战争中一切都进展得很快
|
|
28:01
|
Even our religious services had to be speeded up.
|
连我们的宗教仪式也都必须加快
|
|
28:04
|
…he begins production on a pioneering effort,
|
…他开始了开创性的创作
|
|
28:06
|
Symbiopsychotaxiplasm.
|
《联合精神系》
|
|
28:10
|
No, I said, "Don't touch me, please." Don't ever touch me ever again, ever.
|
不 我说的是“请别碰我”
永远不要再碰我 永远不要
|
|
28:14
|
[Mitchell] Symbiopsychotaxiplasm's ambitions, both formal and freewheeling,
|
《联合精神系》的野心 无论是正式的还是不受拘束的
都和它的标题一样大
|
|
28:18
|
were as big as its title.
|
无论是正式的还是不受拘束的
都和它的标题一样大
|
|
28:20
|
It plays with time in every way possible.
|
它以各种可能的方式玩弄时间概念
|
|
28:24
|
The director, Bill Greaves,
|
比尔·格里夫斯导演
|
|
28:26
|
he is so far in… into, you know, making the film, that he has no perspective.
|
他对这部电影的拍摄太投入了
以致于没有任何视角
|
|
28:31
|
And if you ask him, "What is the film about?" you know,
|
如果你问他
“这部电影讲的是什么？” 他只会给你一个比问题更模糊的答案
|
|
28:34
|
he just gives you some answer that's just vaguer than the question.
|
他只会给你一个比问题更模糊的答案
|
|
28:38
|
[Louise Greaves] I think he was kind of torn. He wanted to see the scene well-done.
|
我觉得他有点纠结
他想把这一幕拍好
|
|
28:44
|
He wanted his actors to be inspired in some way.
|
他希望他的演员
在某种程度上受到启发
|
|
28:48
|
So I think he was being both pushed and pulled in both directions.
|
所以我认为
他被两个方向的人推来拉去
|
|
28:52
|
That's my theory, anyway.
|
反正这是我的理论
|
|
28:55
|
[Mitchell] For decades, people would tie themselves up into knots
|
几十年来 人们总是过分纠结于
|
|
28:58
|
trying to describe Symbiopsychotaxiplasm.
|
试图描述《联合精神系》
|
|
29:02
|
It's now a kind of film so common that it's become its own genre,
|
它现在是一种非常常见的电影
已经成为了自己单独的类型
|
|
29:06
|
the innovative, social satire, prank film.
|
成为了创新的
讽刺社会的、恶作剧的电影
|
|
29:11
|
Director Jules Dassin, who had been, if you'll pardon the expression,
|
请原谅这种表述
导演朱尔斯·达辛曾被列入“黑”名单
|
|
29:15
|
blacklisted, brought race politics to a studio thriller
|
他将种族政治
带入了电影公司惊悚片《焦虑不安》
|
|
29:19
|
in Uptight, which he wrote for the film's Black costars.
|
并为该片的黑人主演撰写了剧本
|
|
29:23
|
Dassin, Dee, and Mayfield were shrewd, earnest, and shameless,
|
达辛、迪伊和梅菲尔德
精明、认真、无耻
|
|
29:28
|
enfolding the world-gone-wrong impact of Dr. King's death into a genre film.
|
他们把金博士之死对世界
造成的巨大影响拍成了一部类型片
|
|
29:35
|
[Fishburne] Martin Luther King was assassinated in '68.
|
马丁·路德·金在1968年遇刺身亡
|
|
29:38
|
My mother dropped everything and went to the funeral.
|
我母亲放下一切去参加了葬礼
|
|
29:42
|
She didn't know this man,
|
她不认识这个人
|
|
29:44
|
but she dropped everything and put on her best clothes and left.
|
但她放下了一切
穿上她最好的衣服出门了
|
|
29:49
|
And that was, like, "Oh, so this is important?"
|
这就感觉是
“哦 所以这很重要？”
|
|
29:51
|
Like, this guy was important.
|
这个人很重要
|
|
29:53
|
What he was doing was important. What he was talking about was important.
|
他所做的事很重要
他所说的话很重要
|
|
29:58
|
We are important.
|
我们很重要
|
|
30:00
|
Our voices, our hopes, our dreams, our aspirations,
|
我们的声音、我们的希望
我们的梦想、我们的抱负
|
|
30:03
|
all that stuff, that's important.
|
所有的事都很重要
|
|
30:05
|
[Martin Luther King] We hold these truths to be self-evident.
|
我们认为这些真理是不言而喻的
|
|
30:08
|
[Mitchell] Uptight depicted the shaky anguish
|
《焦虑不安》描绘了一个
|
|
30:10
|
and free-floating fury of a society desperate for answers,
|
渴望答案的社会颤抖的痛苦
和自由转移的愤怒
|
|
30:14
|
the heart of genre film.
|
这是类型片的核心
|
|
30:16
|
[Jackson] The day after Dr. King got killed,
|
金博士被杀的第二天
|
|
30:18
|
we got on a plane in Atlanta, from Morehouse Spelman,
|
我们从莫尔豪斯斯佩尔曼
坐上了亚特兰大的飞机
|
|
30:21
|
and flew to Memphis and marched with the garbage workers.
|
飞到孟菲斯 和垃圾工人一起游行
|
|
30:24
|
And we had those "I am a man" signs. We used to have them in the house.
|
我们还有"我是人"的标志
我们以前家里就有
|
|
30:36
|
[Mitchell] In an audacious turn on the heist genre,
|
影片大胆地转向抢劫类型
|
|
30:39
|
a group of revolutionaries is out to stage a robbery
|
一群革命者正要去上演一场抢劫
|
|
30:41
|
while Cleveland reels after Dr. King's assassination.
|
而克利夫兰在金博士遇刺后摇摇欲坠
|
|
30:45
|
A key member of the team,
|
团队的一个关键成员
|
|
30:47
|
at loose ends because of the chaos spilling from King's death,
|
由于金的死亡导致混乱蔓延
不知如何是好
|
|
30:50
|
has a crisis of conscience.
|
产生了良知危机 在对与错中徘徊
|
|
30:52
|
I've never felt so bad in all my life.
|
我这辈子从没这么难过过
|
|
30:55
|
Uptight is a contemporary version of a 1935 John Ford movie
|
《焦虑不安》是1935年
一部约翰·福特电影的当代版本
|
|
31:00
|
and begins a cycle where Black concerns are folded into remakes.
|
它开始了一个循环
即对黑人的关注变成了重拍
|
|
31:04
|
[Jackson] Is that the one that's like a remake of The Informer?
|
那东西是翻拍版的《告密者》吗？
|
|
31:07
|
I knew what The Informer was, so when I saw that, I knew exactly what it was.
|
我知道《告密者》是什么
所以当我看到它时 我就清楚了
|
|
31:10
|
So, you look at it, and everybody had a thing
|
你看着它 每个人
|
|
31:13
|
about, you know, certain kinds of people was just the police.
|
都对某些人有看法 怀疑是警察
|
|
31:17
|
If you're at a party, and you're passing a joint around,
|
如果你在一个派对上四处传递大麻
|
|
31:19
|
and a dude don't take the joint and hands it to somebody else…
|
有一个人没有拿着大麻递给别人
|
|
31:21
|
[muttering] …it's like, "Oh man, he's the police." You know?
|
感觉就像是
“天啊 他是警察” 你知道吗？
|
|
31:24
|
Or… or somebody is acting strange, you know, around the group when y'all…
|
或者有人在小组里表现得很奇怪
|
|
31:29
|
you know, when we was revolutionaries,
|
而我们所有人都是革命者
|
|
31:31
|
when you had a revolutionary cadre of your own, uh,
|
当你有自己的革命团体之时
|
|
31:35
|
there was always somebody who was suspect.
|
总有人受到怀疑
|
|
31:37
|
So having that movie be that was, you know, like that.
|
所以那部电影就是那样的
|
|
31:42
|
[Mitchell] In his autobiography, Booker T. Jones, who composed the score,
|
编曲人布克·T·琼斯
在他的自传中说
|
|
31:46
|
said some called Uptight the first blaxploitation film.
|
有些人把《焦虑不安》
称为第一部黑人剥削电影
|
|
31:51
|
On another continent, from another culture,
|
在另一个大陆 来自另一种文化
|
|
31:54
|
was a studio film from Italy,
|
有一部来自意大利的电影公司电影
|
|
31:56
|
and, like many movies that changed the medium,
|
就像许多改变了媒介的电影一样
|
|
31:58
|
it was from a genre dismissed as second-rate,
|
它来自一种被认为是二流的类型片
|
|
32:01
|
in this case, the spaghetti western.
|
在这种情况下 它是意大利西部片
|
|
32:07
|
A little later in the movie,
|
在电影的后面
|
|
32:09
|
this scene was something the director wanted to use
|
这个场景是导演想用来
|
|
32:12
|
to drive a stake through the heart of audience expectation.
|
用木桩刺穿观众期待之心
与他们的期待截然相反
|
|
32:15
|
Making Henry Fonda cold-blooded was shattering.
|
让亨利·方达变得冷血无情
产生了巨大影响
|
|
32:19
|
He was America's big-screen moral compass.
|
他是美国大银幕上的道德指南针
|
|
32:22
|
But Isaac Hayes, in need of a hit,
|
但艾萨克·海斯急需一部大热电影
|
|
32:24
|
was inspired by seeing Leone's perverse use of Fonda,
|
他受到了莱翁内对方达
不正当使用的启发
|
|
32:28
|
who belonged on the movie Mount Rushmore of white decency
|
方达出演了
白人行为准则的电影《拉什莫尔山》
|
|
32:31
|
with John Wayne, Jimmy Stewart, and Shirley Temple.
|
与约翰·韦恩、吉米·斯图尔特
秀兰·邓波儿同属一个时代
|
|
32:36
|
So moved that producer-performer Hayes created this piece of music.
|
如此感动以至于制作人
兼演奏家海耶斯创作了这首音乐
|
|
32:58
|
Hayes told me that he would escape the malfunctioning air-conditioning
|
海耶斯告诉我
为了避开斯塔克斯影城
|
|
33:02
|
at Stax Studios by going to see this movie,
|
出现故障的空调 他会去看这部
|
|
33:05
|
which he caught at least ten times.
|
他至少看了十遍的电影
|
|
33:07
|
Woody Strode's towering presence convinced Hayes
|
伍迪·斯特罗德的卓越表现
让海耶斯相信
|
|
33:09
|
that he could one day be a movie star,
|
他有一天会成为电影明星
|
|
33:12
|
and in a genre where Black inclusion was marginal at best, the Western.
|
而在西部电影类型中
黑人最多只能算是边缘人物
|
|
33:16
|
More importantly, Once Upon a Time also motivated Hayes to create this
|
更重要的是《西部往事》
也激励海耶斯为他的
|
|
33:21
|
for his Hot Buttered Soul album.
|
《热黄油灵魂》专辑创作了这首歌
|
|
33:34
|
When Gordon Parks adapted his semi-autobiographical novel,
|
1969年 戈登·帕克斯改编了他的
|
|
33:38
|
The Learning Tree, in 1969,
|
半自传体小说《学习之树》
|
|
33:40
|
he made the first studio-financed film by an African-American director.
|
他制作了第一部由电影公司出资
由非裔美国导演执导的电影
|
|
33:45
|
Warner Bros. got its money's worth from the photographer-turned-filmmaker.
|
华纳兄弟从这位由摄影师转行的
电影制作人身上得到了超值回报
|
|
33:49
|
He wrote, directed, produced, and composed the score.
|
他自编、自导、自制、自创配乐
|
|
33:53
|
He joked to me that the only reason he didn't star in it
|
他跟我开玩笑说
他没有出演这部电影的唯一原因
|
|
33:57
|
was because he was too tall.
|
是他太高了
|
|
33:59
|
Learning Tree follows Newt, a 12-year-old, over the course of a summer.
|
《学习之树》跟随12岁的纽特
度过了一个夏天
|
|
34:04
|
One incident carries a resonance that the movie can't shake.
|
有一件事引起了电影无法摆脱的共鸣
|
|
34:08
|
Run, Tuck, run!
|
快跑 塔克 快跑！
|
|
34:09
|
A moment so potent it seems surreal and way too real,
|
这一刻如此有力
似乎超现实又过于真实
|
|
34:13
|
a beat that didn't get it's due at the time.
|
电影在当时没有得到应有的反响
|
|
34:15
|
-[man] Stop, damn it! I'll shoot! -[gun fires]
|
停下 该死！我开枪了！
|
|
34:38
|
You didn't have to shoot Tuck.
|
你没必要开枪打塔克
|
|
34:41
|
Now you can see what happens to criminals.
|
现在你可以看到罪犯的下场了
|
|
34:43
|
[Mitchell] The type of scene we all knew about but never expected to see in a movie.
|
这种场景我们都知道
但从未想过会在电影中看到
|
|
34:48
|
And Parks also told me he packed as much as he could into the film,
|
帕克斯还告诉我
他在电影中放入了尽可能多的内容
|
|
34:52
|
such as this glorious image claiming the Western for Black audiences,
|
比如这个为黑人观众
宣传西部片的壮丽画面
|
|
34:57
|
because he didn't know
|
因为他不知道
|
|
34:58
|
if he'd ever get a chance to make another one.
|
他是否还有机会再制作一部电影
|
|
35:02
|
1969 took us from the hyperreal to the unreal.
|
1969年把我们从超真实带到了不真实
|
|
35:06
|
The wildness flowered in full force
|
在编剧兼导演老罗伯特·唐尼
|
|
35:08
|
in writer-director Robert Downey Sr.'s revolutionary comedy about revolution,
|
关于革命的革命性喜剧
广告讽刺片《帕特尼·斯沃普》中
|
|
35:14
|
the advertising satire Putney Swope.
|
野性发挥到了极致
|
|
35:17
|
You can't eat an air conditioner.
|
你不能吃空调
|
|
35:20
|
[Mitchell] Here, a Black man, Putney Swope,
|
电影中一个黑人帕特尼·斯沃普
|
|
35:22
|
is suddenly made the head of an advertising agency…
|
突然被任命为一家广告公司的总裁…
|
|
35:25
|
You're gonna make a great chairman.
|
你会成为一个很棒的董事长
|
|
35:27
|
…and immediately upends the way the agency does business.
|
…并立刻颠覆了公司的运作方式
|
|
35:30
|
I have a feeling that there's a lot of untapped talent around here.
|
我觉得这里有很多未开发的人才
|
|
35:35
|
I didn't do it!
|
我没有做！
|
|
35:36
|
Then what are you doing? Taking her temperature?
|
那你在干什么？测她的体温？
|
|
35:38
|
Boss, don't fire me. I got a wife, three kids, and a Shetland pony.
|
老板 别开除我 我有妻子
三个孩子 还有一匹谢德兰矮种马
|
|
35:43
|
You can get more said with comedy than you can get said straight,
|
你可以用喜剧表达思想
比直接表达更深入人心
|
|
35:48
|
and I think that's what Blacks had to survive.
|
我认为这是黑人赖以生存的东西
|
|
35:51
|
You had to, uh, make 'em laugh under the subtext.
|
你必须让他们在潜台词下发笑
|
|
35:55
|
Downey saw an opening
|
唐尼看到了一个机会
|
|
35:58
|
where we could play and be cutting and biting.
|
我们可以边玩边撕咬
|
|
36:02
|
And I don't use words like "genius," but it was a stroke of something.
|
我不想用"天才"这个词
但这确实是很天才
|
|
36:06
|
[Mitchell] Unhappy with the performance of his star, actor Arnold Johnson,
|
由于不满意他的主演
演员阿诺德·约翰逊的表演
|
|
36:11
|
director Downey dubbed his own voice for his lead Black character…
|
导演唐尼亲自为他的黑人主角配音…
|
|
36:15
|
Truth and Soul!
|
真理和灵魂！
|
|
36:18
|
-[man] TS, baby. -That's right!
|
-真理和灵魂 宝贝
-没错！
|
|
36:20
|
…a move that surely later influenced
|
…这一举动无疑后来影响了
|
|
36:22
|
his son's Oscar-nominated role in Tropic Thunder.
|
他儿子在《热带惊雷》中
获得奥斯卡提名的角色
|
|
36:25
|
'Cause I'm trying to come up a little, but it's just… it's tough.
|
因为我想说点什么 但这太难了
|
|
36:28
|
-No, you look good. -Any tips?
|
-不 你看起来不错
-有小费吗？
|
|
36:32
|
[Mitchell] 1969 was a watershed period in Black film,
|
1969年是黑人电影的分水岭
|
|
36:35
|
in which stories took a harsher and more realistic look
|
其中的故事对黑人过去的生活
|
|
36:38
|
at Black life in the past,
|
进行了更严酷、更现实的审视
|
|
36:40
|
such as with the first American films to deal, in somewhat stark terms,
|
比如美国第一批讲述…
用直白的词汇表达
|
|
36:45
|
with slavery.
|
讲述奴隶制的电影
|
|
36:46
|
The movie was called Slaves,
|
其中一部电影叫《奴隶》
|
|
36:48
|
which both starred Dionne Warwick
|
由迪翁·沃里克主演
|
|
36:50
|
and offered her singing about a different kind of hurt
|
也让她唱一种不同于
|
|
36:53
|
than one might have expected from her.
|
人们通常对她了解的受伤
|
|
36:56
|
Ossie Davis plays a slave attempting to hold onto logic
|
奥西·戴维斯饰演
试图在一个毫无逻辑的系统中
|
|
36:59
|
in a system that has none.
|
坚持逻辑的奴隶
|
|
37:00
|
Twelve hundred twice. Anyone else?
|
一千二百美元两次 还有别人吗？
|
|
37:03
|
[Mitchell] Davis's regal slow burn doesn't hide his despair.
|
戴维斯那王者般的逐渐愤怒
并不能掩盖他的绝望
|
|
37:07
|
In fact, it magnifies this.
|
事实上 还把这个放大了
|
|
37:16
|
The historic tumult continues when Rupert Crosse becomes
|
鲁珀特·克罗斯凭借《劫持者》成为
|
|
37:19
|
the first Black actor to be nominated for an Oscar for Best Supporting Actor
|
首位获得奥斯卡最佳男配角提名的
|
|
37:23
|
for The Reivers.
|
黑人演员 历史骚动继续发展
|
|
37:29
|
How do you start this thing?
|
这个东西怎么启动？
|
|
37:31
|
[Mitchell] Crosse's sunny fluidity frees McQueen from his laconic narcissism.
|
克罗斯的阳光灵动
让麦昆从简短自恋中解脱出来
|
|
37:35
|
He pays attention to Crosse
|
他关注克罗斯
|
|
37:37
|
and allows us to honor Crosse in the same way.
|
也让我们以同样的方式尊重克罗斯
|
|
37:41
|
Ten years earlier, Crosse was featured in Shadows,
|
十年前 克罗斯出演了《暗影》
|
|
37:44
|
John Cassavetes' 1959 race drama that was, of course, independently made.
|
约翰·卡萨维蒂1959年的种族
题材电影 当然是独立制作的
|
|
37:50
|
You like that one about the rabbit and the tree?
|
你喜欢兔子和树的那个故事吗？
|
|
37:53
|
I don't know that one.
|
我不知道那个故事
|
|
37:55
|
You know that one about the rabbit that fell on out the tree and says,
|
就是有只兔子从树上掉下来 然后说
|
|
37:58
|
"Man, that lovemaking's for the birds."
|
“天啊 树上做爱是鸟儿专属”
|
|
38:01
|
[Mitchell] Director Mark Rydell,
|
马克·莱德尔导演
|
|
38:02
|
who knew Crosse from the Actors Studio, brought him into The Reivers.
|
他在演员工作室认识了克劳斯
让他出演了《劫持者》
|
|
38:06
|
[Rydell] Rupert Crosse was 6 foot 5 inches tall,
|
鲁珀特·克罗斯身高1.95米
|
|
38:09
|
and I knew he was right for the part to play opposite Steve.
|
我知道他是
和史蒂夫对手戏的正确人选
|
|
38:13
|
It was awesome to drive up to Steve McQueen's house
|
开车去史蒂夫·麦奎因家真是太棒了
|
|
38:16
|
because there were maybe ten garages
|
因为那里大概有十个车库
|
|
38:19
|
with all kinds of cars, Ferraris and, uh, Aston Martins
|
里面有各种各样的车
法拉利、阿斯顿马丁
|
|
38:23
|
and racing motorcycles.
|
还有赛车
|
|
38:25
|
An enormous piece of property, a courtyard. It was… it was very lavish.
|
一块巨大的房产 一个庭院 非常奢华
|
|
38:29
|
And Rupert had never seen anything like that before,
|
鲁珀特以前从未见过这样的事
|
|
38:32
|
and I must tell you, I hadn't either till I met Steve.
|
我必须告诉你 我也没见过
直到我遇到史蒂夫
|
|
38:36
|
I lived a little bit more modestly but certainly better than Rupert,
|
我的生活简朴一些
但肯定比鲁珀特要好
|
|
38:39
|
who had no… no money and was living like a young actor.
|
他没有钱
过着像年轻演员一样的生活
|
|
38:42
|
Well, we walked into the house, and Rupert met Steve,
|
我们走进房子 鲁珀特遇到了史蒂夫
|
|
38:45
|
and, uh, Steve looked up at this giant, and we sat down in his kind of library,
|
史蒂夫抬头看着这个巨人
我们在他家像图书馆一样的地方坐下
|
|
38:50
|
and Steve began to talk about, uh, tae kwon do.
|
史蒂夫开始谈论跆拳道
|
|
38:53
|
You know, he was a master of those fighting disciplines,
|
他是格斗的大师
|
|
38:57
|
and, uh, he was showing Rupert some moves, and Rupert said,
|
他在给鲁珀特展示一些动作
鲁珀特说
|
|
39:00
|
"No, you're off-balance," said Rupert from his chair.
|
鲁珀特坐在椅子上说
“不对 你失去平衡了”
|
|
39:05
|
And I saw-- And Steve looked at him, he said, "Oh?"
|
然后我看见…
史蒂夫看着他 他说：“哦？”
|
|
39:09
|
He said, "Yes, you're off-balance, you know."
|
他说：“是的 你失去平衡了”
|
|
39:11
|
"It's wrong, the way you're standing." So Steve said, "Show me."
|
“你站的姿势不对”
所以史蒂夫说：“展示给我看看”
|
|
39:15
|
And Rupert uncoiled and stood up at his height,
|
鲁珀特打开身体 站直变高
|
|
39:19
|
and they faced one another, and in two seconds,
|
他们面对面 两秒钟后
|
|
39:22
|
Steve was flying through the air
|
史蒂夫就在台球桌下
|
|
39:25
|
under the billiard table in the-- Actually, the next room.
|
飞快穿梭… 实际上就是隔壁房间
|
|
39:28
|
So-- And I thought, "Well, the picture's over."
|
所以…我心想：“好了 电影结束了”
|
|
39:31
|
"You know, there goes Rupert."
|
“鲁珀特的戏份拍好了”
|
|
39:33
|
But the truth of the matter is Steve was thrilled, you know,
|
但事实是 史蒂夫很高兴
|
|
39:37
|
that, uh… that this guy was not afraid of him.
|
这个人不怕他
|
|
39:39
|
[Mitchell] Among the curious and forward-thinking artists that populated LA's film world,
|
在洛杉矶电影界
众多充满好奇心和前瞻性的艺术家中
|
|
39:44
|
which included Jack Nicholson and screenwriter Robert Towne,
|
包括杰克·尼科尔森
和编剧罗伯特·汤
|
|
39:48
|
Rupert Crosse was a charismatic figure, admired for his talent.
|
鲁珀特·克罗斯是一个有魅力的人物
他的才华令人钦佩
|
|
39:52
|
As Jim Brown and Rupert Crosse
|
当吉姆·布朗和鲁珀特·克罗斯
|
|
39:54
|
were presenting a new type of Black masculinity,
|
在展示一种新型的黑人男子气概时
|
|
39:57
|
Brown, who was simultaneously courtly and impatient,
|
彬彬有礼而又缺乏耐心的布朗
|
|
40:01
|
and Crosse's smiling insolence,
|
以及克罗斯微笑着的傲慢无礼
|
|
40:03
|
Muhammad Ali, who was for me the second Black public figure
|
在我看来 穆罕默德·阿里是第二位
|
|
40:07
|
to be the same with Black audiences as with white audiences,
|
在黑人观众和白人观众中
同样受欢迎的公众人物
|
|
40:10
|
had his version of courtliness and insolence displayed
|
他在1970年的纪录片
《卡修斯·克莱》中
|
|
40:13
|
in the 1970 documentary a.k.a. Cassius Clay.
|
展现了自己的彬彬有礼和傲慢无礼
|
|
40:16
|
[narrator] He was paying lawyers to keep him out of jail,
|
他花钱请律师让自己免于牢狱之灾
|
|
40:19
|
paying alimony to his first wife,
|
给第一任妻子支付赡养费
|
|
40:21
|
supporting his current wife and child.
|
供养现任妻子和孩子
|
|
40:25
|
[Mitchell] This unusual documentary caught Ali at the crossroads of who he was
|
这部不同寻常的纪录片
让阿里站在了他过去是谁
|
|
40:29
|
and who he would become.
|
以及将成为谁的十字路口
|
|
40:31
|
Important because it shows the self-possession
|
因为它展现了一种泰然自若而重要
|
|
40:33
|
that will be the core of Black film.
|
这将是黑色电影的核心
|
|
40:36
|
And the first such Black figure to break through in the same way as Ali,
|
第一位像阿里一样
取得突破的黑人人物
|
|
40:40
|
not trying to hide from the mainstream gaze,
|
保持一种不畏惧主流意见的自信态度
|
|
40:42
|
was Jack Johnson, whose struggles were depicted in the play
|
是杰克·约翰逊
他的奋斗被描述在戏剧中
|
|
40:45
|
and now the movie The Great White Hope,
|
现在被拍成电影《拳王奋斗史》
|
|
40:48
|
where James Earl Jones would become the second Black man
|
詹姆斯·厄尔·琼斯将成为
第二位获得
|
|
40:51
|
to get a Best Actor nomination.
|
最佳男主角提名的黑人
|
|
41:04
|
[Mitchell] James Earl Jones rose to the occasion as a lean sexual presence
|
詹姆斯·厄尔·琼斯
在他的银幕生涯中
|
|
41:09
|
for one of the few times in his on-screen career.
|
为数不多的几次
以瘦削的性感形象脱颖而出
|
|
41:11
|
-No, no! I'm-- -Put your clothes on, Miss Bachman.
|
-不！我…
-穿上你的衣服 巴克曼小姐
|
|
41:14
|
-We'll take you into town. -Jake!
|
-我们带你进城
-杰克！
|
|
41:15
|
Don't you fret now. Just get dressed.
|
你不用担心 穿上衣服就好
|
|
41:17
|
[Mitchell] Interracial sexuality and the unease it created
|
跨种族的性行为及其引发的不安
|
|
41:21
|
whipped up waves of anxiety in film in 1970.
|
在1970年的电影中掀起了焦虑浪潮
|
|
41:24
|
The Great White Hope reminded viewers
|
《拳王奋斗史》提醒观众
|
|
41:26
|
that those relationships were based on appetites.
|
这些关系是建立在欲望之上的
|
|
41:29
|
The changes left at least one esteemed filmmaker at a loss,
|
这些变化至少让一位
受人尊敬的电影人感到不知所措
|
|
41:33
|
director William Wyler, whose ability to depict societal shift
|
他就是导演威廉·怀勒
他描绘社会变迁的能力
|
|
41:36
|
can be seen in films such as The Best Years of Our Lives.
|
可以在
《我们最好的岁月》等电影中看到
|
|
41:41
|
And Wyler set a template with his 1965 proto-stalker film, The Collector.
|
怀勒在1965年跟踪狂原型电影
《收藏家》中树立了一个模板
|
|
41:46
|
His last film was The Liberation of L.B. Jones,
|
他的最后一部电影
是《L.B.琼斯的解放》
|
|
41:49
|
and his power to coherently translate up-to-the-minute drama failed him
|
他能连贯转变当代最新戏剧的能力
却让他失败了
|
|
41:54
|
with this hysterical fetishizing of Black female flesh.
|
因为歇斯底里地迷恋黑人女性肉体
|
|
42:02
|
-You fancy goin' to lawyers? -Sugar boy, you bustin' my arm.
|
-你喜欢找律师吗？
-甜心 你要弄断我胳膊了
|
|
42:05
|
You fancy goin' to lawyers! You think they wouldn't warn a white man?
|
你喜欢找律师！
你觉得他们不会警告一个白人吗？
|
|
42:10
|
I seen fools, but you take the sap-suckin' prize.
|
我见过傻瓜 但你是最傻的
|
|
42:14
|
[Mitchell] After directing the documentary King: A Filmed Record,
|
在执导完纪录片
《国王：拍摄的记录》后
|
|
42:18
|
Sidney Lumet turned to something that sounded tantalizing,
|
西德尼· 鲁梅特
开始转做听起来撩人的事
|
|
42:20
|
a Gore Vidal script adapted from a Tennessee Williams play
|
改编自田纳西·威廉姆斯戏剧的
一个戈尔·维达尔的脚本
|
|
42:24
|
dealing with race and sex
|
讲述种族和性
|
|
42:26
|
with James Coburn, Robert Hooks, and Lynn Redgrave.
|
由詹姆斯·柯本、罗伯特·胡克斯
和琳恩·蕾格烈芙出演
|
|
42:30
|
The desperate-to-be-lurid result was Last of the Mobile Hotshots,
|
最耸人听闻的结果是《鹊巢鸠占》
|
|
42:33
|
which got an X rating,
|
被评级为少儿不宜X级
|
|
42:35
|
apparently because a Black man might have sex with a white woman.
|
很明显是因为一个黑人男性
要和一个白人女性做爱
|
|
42:41
|
The oven door's broke, the roof leaks, the toilet runs all day,
|
烤箱门坏了 （《地主》1970年
导演：哈尔·阿什比）
|
|
42:46
|
and you awful cute to be a landlord.
|
而你做房东很可爱
|
|
42:48
|
[Mitchell] Diana Sands' ability to enchant was evident in 1970's The Landlord,
|
戴安娜·桑兹的迷人能力在20世纪
70年代的《地主》中得以展现
|
|
42:53
|
and this early story of the turmoil caused by an overprivileged white man
|
以及由一个权势滔天的白人
他让全部是黑人的布鲁克林街贵族化
|
|
42:58
|
gentrifying an all-Black Brooklyn street continued the trend,
|
引起骚动的早期故事
延续了这个趋势
|
|
43:01
|
that of a Black writer, Bill Gunn, adapting a novel
|
黑人编剧比尔·冈恩改编了一本
|
|
43:05
|
by a Black writer, Kristin Hunter.
|
由黑人作家克莉丝汀·亨特所著小说
|
|
43:09
|
This actor's earthy commonsense command was made for the screen.
|
这个演员的务实简直是为银幕而生
|
|
43:13
|
Sands could convey as much with a chuckle and a smile
|
桑兹可以用简单的轻笑和微笑表达出
|
|
43:16
|
as most actors could with pages of dialogue.
|
多数演员需要大量对话内容
表现出的东西
|
|
43:23
|
[Glynn Turman] Diana Sands was just the perfect auntie because she knew how to be a big kid.
|
戴安娜·桑兹是个完美的阿姨
因为她知道怎么做个大孩子
|
|
43:28
|
She was such a… a giving person,
|
她是个非常慷慨的人
|
|
43:31
|
such a joy, uh, to be around.
|
很高兴能和她待在一起
|
|
43:35
|
[Mitchell] 1970 brought Chester Himes to the screen in a way that finally made sense.
|
1970年终于让切斯特·希姆斯
以合理的方式出现在了银幕上
|
|
43:40
|
In his directorial debut,
|
在他执导的处女作里
|
|
43:42
|
Ossie Davis spins the long-standing myth of the emotional Black sexpot on its head
|
奥西·戴维斯用希姆斯小说里的场景
|
|
43:47
|
by using a scene right from Himes' novel.
|
扭转了人们长久以来
认为这个黑人多情性感的想法
|
|
43:50
|
In his book, Himes adds a hint of bitterness
|
在希姆斯的书里
他在这个局势扭转的故事中
|
|
43:53
|
to this turn-the-tables anecdote about a Black woman luring a white cop
|
一位黑人女性引诱一个白人警察
进行性侮辱的故事中
|
|
43:57
|
into sexual humiliation.
|
加了一丝苦涩
|
|
43:59
|
Please, baby.
|
求你了 宝贝
|
|
44:03
|
Please.
|
求你了
|
|
44:09
|
[Mitchell] The film adaptation cranked the glee
|
这部电影改编增加了乐趣
|
|
44:11
|
of an audience bored by Black degradation
|
观众对黑人堕落早已厌倦
|
|
44:14
|
and revels in Davis's flipping the script under a proscenium arch.
|
却陶醉于戴维斯在舞台口
将重要位置交给黑人演员的反转
|
|
44:18
|
-[man] Halt in the name of the law! -[gun fires] -Halt in the name of the law! -[funk music playing]
|
以法律的名义停下！
|
|
44:23
|
[Mitchell] The Davis take on Himes' Old Testament avenger Harlem cops
|
戴维斯展现的希姆斯书中
哈莱姆警察的暴力和仇恨
|
|
44:28
|
was a playful and Afrocentric fable that introduced the concept of high style,
|
是一个围绕非洲的有趣寓言
介绍了优雅时尚的概念
|
|
44:33
|
scored by Hair composer Galt MacDermot, to Black action.
|
由《长发侠》作曲家高尔特·梅德谟
给黑人动作片作曲
|
|
44:37
|
The beautifully dressed detectives,
|
穿戴靓丽的侦探
|
|
44:38
|
played by the wry Godfrey Cambridge and quick-tempered Raymond St. Jacques,
|
由啼笑皆非的演员戈弗雷·坎布里奇
和急性子的雷蒙德·圣雅克扮演
|
|
44:43
|
were part of an eager group of Black stage actors Davis put together.
|
他们属于戴维斯组织的
一群急切成功的黑人舞台演员
|
|
44:47
|
-What is it? -Look at this.
|
-这是什么？
-看看这个
|
|
44:50
|
[Fishburne] Oh my God, those blue shirts he was wearing,
|
我的天啊 他穿的那些蓝衬衫
|
|
44:53
|
that suit he was wearing,
|
跟他穿的很搭配
|
|
44:54
|
the way he had his mustache manicured, he was clean as a motherfucker, man.
|
他剪胡子的方式 他非常的优雅 天啊
|
|
44:59
|
You saw that white joker. Did you identify him?
|
你看到那个白人小丑了
你认出他了吗？
|
|
45:03
|
I don't know, Lieutenant. Maybe yes, maybe no.
|
我不知道 中尉
也许认出了 也许没有
|
|
45:07
|
All those kinda people look alike to me.
|
那些人对我而言都长得很像
|
|
45:09
|
[Mitchell] As a stage actor himself, Davis knew that audiences would respond
|
由于是戏剧演员 戴维斯了解观众
|
|
45:14
|
to the warmth of Black actors basking in their comrades' glory,
|
会对黑人演员享受彼此的成就
作出回应
|
|
45:17
|
an aspect he probably wanted movie audiences to experience.
|
他可能想要让电影观众
经历这一方面
|
|
45:22
|
There's a lot of fantasy going on in Cotton Comes to Harlem.
|
在《龙虎黑煞星》里有很多幻想
|
|
45:28
|
It's a fairy tale.
|
这是一个童话故事
|
|
45:29
|
But what's great is
|
但最棒的是
|
|
45:31
|
Ossie Davis uses Harlem
|
奥西·戴维斯以一种我觉得
|
|
45:34
|
in a way that I don't think we'd ever seen it before.
|
从未见过的方式使用了哈莱姆
|
|
45:37
|
It's totally authentic.
|
完全是真实的
|
|
45:39
|
It is totally itself.
|
完全是它自己
|
|
45:41
|
And he's got this fantasy playing out in the midst of the reality of Harlem.
|
他在哈莱姆的现实中扮演着这个幻想
|
|
45:46
|
[Mitchell] Davis took a mantra from Black revolutionaries
|
戴维斯从黑人革命分子中学了一句话
|
|
45:49
|
and made it a call-and-response song…
|
把它写成了一首可以跟观众对唱的歌
|
|
45:51
|
-["Black Enough" by Melba Moore playing] -♪ Black enough for me ♪
|
对我而言足够黑了
|
|
45:56
|
[Mitchell] …of looking forward to the day when Black pride will be celebrated
|
我渴望着以后黑人游行
|
|
45:59
|
by society at large rather than viewed as a demand for change.
|
会被全社会庆祝
而不是被看成是要求转变
|
|
46:03
|
Which it was, by the way, but the song gives it a lilt.
|
顺便说一句 以前是这样的
但歌曲给了它欢快的节奏
|
|
46:07
|
♪ Black enough for me ♪
|
对我而言足够黑了
|
|
46:12
|
It's that one line that repeats itself throughout,
|
这句话从头到尾一直在重复
|
|
46:14
|
which is fantastic.
|
这很棒
|
|
46:16
|
Am I Black enough for you?!
|
对你们而言 我足够黑了吗？
|
|
46:19
|
[Fishburne] Calvin Lockhart and his way of using it when he preaches,
|
当卡尔文·洛克哈特宣讲的时候
以他的方式使用了这句话
|
|
46:22
|
and then Godfrey Cambridge and his way of using it.
|
后来戈弗雷·坎布里奇
以自己的方式用了这句话
|
|
46:26
|
Is that Black enough for you?
|
这对你而言足够黑了吗？
|
|
46:28
|
It changes. It morphs. It has several meanings.
|
它进行了改变、产生变体
它有几种含义
|
|
46:31
|
Is that Black enough for you?
|
对你而言足够黑了吗？
|
|
46:33
|
It ain't, but it's gonna be.
|
还没有 但会的
|
|
46:36
|
That still resonates.
|
那句话至今能产生共鸣
|
|
46:39
|
[Mitchell] Though Davis recognized the need to make the composer
|
虽然戴维斯意识到 需要让作曲家参与讲故事
|
|
46:41
|
part of the storytelling
|
需要让作曲家参与讲故事
|
|
46:43
|
by including MacDermot on Cotton Comes to Harlem,
|
让梅德谟参与《龙虎黑煞星》
|
|
46:45
|
it took Melvin Van Peebles to make the music communicate
|
这需要梅尔文·范·皮布尔斯
让音乐传达
|
|
46:48
|
the shocking nature of the Black experience.
|
黑人经历的震撼性
|
|
46:51
|
His 1970 Watermelon Man is a satire
|
戈弗雷·坎布里奇1970年的电影
《西瓜男人》
|
|
46:54
|
in which a liberal white man wakes up one day to find out he's Black.
|
是讽刺作品 一个思想开明的白人
有一天醒来 发现自己变成了黑人
|
|
46:59
|
Illustrating the bone-deep horror of being Black for whites,
|
展现了白人对成为黑人
深深的恐惧
|
|
47:03
|
Godfrey Cambridge shifts the tone from openly broad and comedic…
|
戈弗雷·坎布里奇
从最初的直白喜剧表演…
|
|
47:08
|
Jeff! Jeff! Jeff! There's a Negro in your shower!
|
杰夫！你的浴室里有个黑人！
|
|
47:11
|
[Mitchell] …to acting the richly observed and deeper character transformed
|
…因为感受到了许多共鸣
转变成了富有观察的
|
|
47:16
|
by being soaked in empathy,
|
更深层的表演
|
|
47:18
|
an evolution Van Peebles wanted audiences to feel.
|
是范·皮布尔斯
想让观众感受到的演变
|
|
47:21
|
When we got married, I had no idea it was going to be an interracial thing.
|
当我们结婚时
我不知道这会是跨种族的
|
|
47:25
|
-You never told me. -Well, I just got wind of it myself.
|
-你没告诉过我
-我自己也是刚知道
|
|
47:29
|
[Mitchell] Van Peebles engulfs a slight and sleight-of-hand plot
|
范·皮布尔斯用了一个精妙的小布局
|
|
47:32
|
by blending sketch-comedy concepts rendered in big glossy movie terms
|
融合了情景喜剧概念
呈现在华丽的大电影表达方式中
|
|
47:36
|
to meticulously make a film
|
来精心地拍电影
|
|
47:38
|
about the power of dawning Black awareness and responsibility.
|
讲述开始黑人意识和责任的力量
|
|
47:41
|
Where do you think you're going?
|
你以为自己要去哪里？
|
|
47:43
|
-I'm lunching with Clark Dunwoody. -Not in here, you're not.
|
-我要跟克拉克·邓伍迪共进午餐
-你不能进去
|
|
47:46
|
[Mitchell] In a pandemic world, Watermelon Man has gained a new timeliness,
|
在疫情的世界里
《西瓜男人》获得了一个新的时效性
|
|
47:50
|
as whites now understand the concept of living on borrowed time
|
因为白人现在明白了
用借来的时间活着的概念
|
|
47:54
|
the moment you step outside your front door,
|
你走出前门的那一刻
就是借来的时间
|
|
47:56
|
as African Americans always have.
|
就像非裔美国人一直以来那样
|
|
48:00
|
Like Gordon Parks on The Learning Tree the year before,
|
就像前一年《美的世界》里
戈登·帕克斯一样
|
|
48:03
|
Van Peebles composed music for his studio directing debut.
|
范·皮布尔斯为他电影公司导演的
处女作谱了音乐
|
|
48:06
|
When my father did Watermelon Man, and they were trying to decide
|
当我爸爸拍《西瓜男人》的时候
他们要决定
|
|
48:10
|
whether Watermelon Man should come out theatrically,
|
《西瓜男人》是否应该在电影院上映
|
|
48:13
|
they were having a little screening, and all the bigwigs were comin' in,
|
他们在试播
所有电影公司大人物都来了
|
|
48:17
|
and they're all white guys,
|
他们都是白人
|
|
48:18
|
and there's a guy, a brother named Willy, who would sweep up in the screening room.
|
还有一个叫威利的黑人
他打扫放映室
|
|
48:22
|
And my dad had talked to Willy and gave him a couple of bucks
|
我爸跟威利聊了聊 给了他一些美元
|
|
48:25
|
and said, "When they screen my movie, you make sure you like it."
|
说：“当他们放我的电影的时候
确认你会喜欢它”
|
|
48:28
|
So Willy's screening the movie, they screen, uh, Watermelon Man, Willy start…
|
所以威利在播放的时候
他们在播放《西瓜男人》的时候
|
|
48:31
|
[chuckling] "Look at that! Oh!"
|
威利说：“看看那个！”
|
|
48:34
|
"That sure is fun--"
|
“真的很有趣…”
|
|
48:36
|
And they were looking at him, "Well, Willy likes it."
|
他们看着他… “好吧 威利喜欢”
|
|
48:39
|
And Willy, "Oh, boss, that sure is good. Look at that." [chuckles]
|
威利还说
“哦 老板 那电影真不错 快看啊”
|
|
48:43
|
"Willy, is this funny to you?"
|
“威利 你觉得有趣吗？”
|
|
48:44
|
"Oh yeah, I can't wait to see this. When is it coming out?"
|
“是的 我等不及要看这个了
什么时候上映？”
|
|
48:47
|
Well, theatrical release. That was their one-man focus group.
|
好了 电影院上映了
那是他们只有一个人的话题小组
|
|
48:51
|
So my dad just did racial jujitsu and flipped it against them.
|
所以我爸爸就用种族柔术对抗了他们
|
|
48:57
|
[Mitchell] Gordon Parks, making a second studio film in 1971,
|
戈登·帕克斯在1971年
拍了第二部电影公司电影
|
|
49:02
|
fully incorporated the marriage of music and film,
|
完全将音乐和电影融合
|
|
49:04
|
a defiant break from the classically influenced European scores of studio fare.
|
从传统受影响的欧洲电影公司
评分体系进行的挑战性转变
|
|
49:09
|
With this movie, Parks follows up on his plan to include Isaac Hayes.
|
有了这部电影 帕克斯继续进行了
他要拉入艾萨克·海耶斯的计划
|
|
49:30
|
Shaft wasn't just a debut. It was an announcement.
|
《黑街神探》不只是问世
它是一种宣告
|
|
49:34
|
In the same way that movies such as Easy Rider screamed,
|
就像《逍遥骑士》这样的电影
表达的一样
|
|
49:37
|
"This is the '60s,"
|
“这是60年代”
|
|
49:38
|
Shaft laid down a count of funk and urban panache that said
|
《黑街神探》
融入了放克和城市的潇洒
|
|
49:42
|
this was the 1970s.
|
表明这就是20世纪70年代
|
|
49:44
|
That a private eye didn't have to look like he slept in his clothes
|
私家侦探不用看起来衣冠不整
|
|
49:47
|
or hid from view.
|
或者隐藏自己
|
|
49:49
|
The newness and audacity of a camera following a Black man
|
崭新和大胆的镜头追随着一个
|
|
49:53
|
in a leather coat through Manhattan.
|
穿着皮大衣在曼哈顿穿梭的黑人
|
|
49:55
|
A private eye, dressed like a combination
|
一个私家侦探穿得像革命者
|
|
49:58
|
of a revolutionary and director Gordon Parks,
|
与导演戈登·帕克斯的组合
|
|
50:01
|
as the sizzle of the hi-hat cranked up the audience.
|
像架子鼓的踩镲一样让观众变得兴奋
|
|
50:04
|
The camera wasn't spying on the star.
|
摄像头没有监视明星
|
|
50:07
|
It was staring at him.
|
而是一直盯着他
|
|
50:09
|
This combination forever altered the course of movies,
|
这个结合永远地改变了电影的轨迹
|
|
50:12
|
right down to coming from a studio
|
直接从长期以来大家都知道的
|
|
50:14
|
that was long known for delivering product about an ideal America
|
制作理想中美国的电影
|
|
50:18
|
that framed straight hair and blue eyes as the standard of beauty.
|
把直发和蓝眼睛作为审美标准的
电影公司转变过来
|
|
50:22
|
Shaft, "sex machine for all the chicks," ain't nobody said that about a brother.
|
夏福特 “所有小妞的性爱机器”
之前从来没人这样说过一个黑人
|
|
50:29
|
You all right?
|
你没事吧？
|
|
50:31
|
Baby, are you all right?
|
宝贝 你没事吧？
|
|
50:35
|
I got to feeling like a machine.
|
我感觉自己像一台机器
|
|
50:37
|
That's no way to feel.
|
那种感觉可不太好
|
|
50:47
|
[Mitchell] In 1971, Van Peebles chose to make a movie
|
在1971年 范·皮布尔斯
选择制作一部电影
|
|
50:51
|
about the unremitting terror Black Americans are subject to,
|
讲述美国黑人受到的长期恐惧
|
|
50:55
|
Sweet Sweetback's Baadasssss Song.
|
《斯维特拜克坏蛋之歌》
|
|
50:58
|
The title alone made the movie part of the revolution
|
光是电影的名字就让电影
|
|
51:01
|
that would not be televised.
|
成为了不适合播出的革命的一部分
|
|
51:03
|
In those days, networks would never run such a title
|
在那个年代里 网络永远不会
传播这种片名
|
|
51:07
|
or the incendiary movie that it accompanied.
|
以及叫这个名字的煽动电影
|
|
51:11
|
-[women chuckling] -What is it?
|
这是什么？
|
|
51:19
|
[Mitchell] In the days before porn was unavoidable
|
在色情片无法避免的日子到来之前
|
|
51:22
|
and when Black sexuality was still a punch line,
|
当黑人的性取向还是笑料的时候
|
|
51:25
|
Sweetback showed its nerve by turning Black sex into a show
|
《斯维特拜克坏蛋之歌》通过把
黑人性爱搬上节目
|
|
51:28
|
and refusing to blink or turn away.
|
并且拒绝挪开镜头 展现了它的大胆
|
|
51:31
|
It's a Van Peebles brick-by-brick construction,
|
这是范·皮布尔斯刻意编排的
|
|
51:34
|
a device to make the audience understand what it's like to be objectified.
|
用这个方法让观众明白
被具体化是什么样的
|
|
51:42
|
[Mitchell] Making "badass" a part of the title was such a badass move
|
把“坏蛋”放在电影名字里是
这个举动真的很坏蛋
|
|
51:46
|
that it virtually guaranteed the movie an X rating,
|
它几乎保证了电影被评为X级
|
|
51:49
|
which Sweetback eventually got.
|
《斯维特拜克坏蛋之歌》
后来也是这样
|
|
51:51
|
Melvin Van Peebles used the perks of exploitation
|
梅尔文·范·皮布尔斯利用剥削福利
|
|
51:54
|
and a new liberalism in movie culture to his advantage.
|
和电影文化中的新自由主义
变成自己的优势
|
|
51:58
|
He loved the sheer effrontery of being a Black man
|
他喜欢用满脸胡子、抽雪茄
|
|
52:01
|
with facial hair, smoking a cigar.
|
来表现黑人的放肆大胆
|
|
52:04
|
A pop-culture gesture
|
这是流行文化的态度
|
|
52:06
|
as eternal as Elvis Presley's smirk and Megan Thee Stallion's fingernails.
|
就像埃维斯·普里斯利的傻笑和
美瑾·茜·史戴莉恩的指甲一样永恒
|
|
52:10
|
Sweetback came at a time when the X rating was just invented,
|
《斯维特拜克坏蛋之歌》出现在
电影限制分级刚创造出来的时候
|
|
52:14
|
and porn moved from sleazy downtown theaters
|
色情片从低劣的市中心剧院
|
|
52:17
|
to the suburbs.
|
挪到了郊区
|
|
52:18
|
Midnight Cowboy became the first X-rated film
|
《午夜牛郎》成为了第一部
赢得奥斯卡
|
|
52:21
|
to win the Best Picture Oscar.
|
最佳影片奖的X级电影
|
|
52:23
|
The only one.
|
也是唯一一个
|
|
52:24
|
Stanley Kubrick made Clockwork Orange and got an X.
|
斯坦利·库布里克拍了《发条橙》
并评为了X级
|
|
52:28
|
And Marlon Brando and director Bernardo Bertolucci
|
马龙·白兰度和
伯纳多·贝托卢奇导演
|
|
52:32
|
would be nominated for Oscars for the X-rated Last Tango in Paris.
|
因为X级的《巴黎最后的探戈》
本应获得获奥斯卡提名
|
|
52:36
|
And there was the Black attempt at X-rated social commentary, Lialeh,
|
还有黑人在X级社会评议上的尝试
《利亚莱》
|
|
52:41
|
with a score by funk legend Bernard Purdie.
|
由放克传奇人物伯纳多·坡迪作曲
|
|
52:44
|
Even if the Motion Picture Association offered me a G for the film,
|
就算电影协会
不给我的电影评为X级
|
|
52:48
|
I don't give them the right to, uh… to decide G or X, uh, for the Black destiny.
|
我觉得他们也没有权利
给黑人的命运评为X级
|
|
52:56
|
[Mitchell] But Van Peebles inadvertently opened a floodgate by hijacking the X-rating.
|
但范·皮布尔斯无意中
打开了劫持X级的闸门
|
|
53:00
|
It's rumored he self-applied the X-rating
|
有传言说他自己给自己打了X级
|
|
53:03
|
because it was the only symbol not copyrighted by the ratings board,
|
因为这是唯一一个
没有等级评定委员会给版权的标志
|
|
53:06
|
which let everyone know the X was theirs for the taking,
|
因为没有版权 大家都可以用X级
|
|
53:10
|
and the brave new world of the double X and triple X was born.
|
双X级和三X级的
勇敢新世界就诞生了
|
|
53:14
|
After all, you've never heard of a double R or a triple PG-13.
|
毕竟从来没听说过双R或者三PG-13级
|
|
53:19
|
As with Watermelon Man, Sweetback opens with running
|
就像《西瓜男人》一样
《斯维特拜克坏蛋之歌》以奔跑开场
|
|
53:23
|
but not for comic effect in this case.
|
但这里不是为了喜剧效果
|
|
53:25
|
Sweetback is on the run for his life. Movement is what seems to keep him alive,
|
斯维特拜克在为了活命奔跑
行动似乎是让他活着的东西
|
|
53:30
|
as much of the film is about forward motion.
|
这个电影大部分都是向前移动的
|
|
53:34
|
Van Peebles chose musicians not just to supply music.
|
范·皮布尔斯选择了音乐人
不仅仅是为了提供音乐
|
|
53:38
|
He made Earth, Wind & Fire his coconspirators.
|
他让地风火成为了他的合谋者
|
|
53:41
|
He had a secretary who I had a crush on. I think everyone had a crush on Priscilla, his secretary.
|
他有我喜欢的秘书
我想大家都喜欢普里西拉
|
|
53:46
|
She had a Afro like a halo, baby. I'd be like, "God, look at Priscilla."
|
她像有光晕一样留着圆蓬式发型
我会说：“上帝 看看普里西拉”
|
|
53:49
|
"Just-- What's she wearing--"
|
“她穿着…”
|
|
53:51
|
"What's the Priscilla outfit du jour gonna be?"
|
“普里西拉今天会穿什么？”
|
|
53:53
|
But Priscilla had a boyfriend who was a little, you know, possessive.
|
但普里西拉有个男朋友
这个人占有欲有点强
|
|
53:57
|
She wanted to act in the movie, but her boyfriend said, "You can't act in the movie."
|
她想演电影 但她男朋友说：
“你不行”
|
|
54:00
|
But he happened to have a new band called Earth, Wind & Fire.
|
但他碰巧有一个叫地火风的新乐队
|
|
54:04
|
So he said, "You can't act with Melvin. However, I wanna do the music."
|
所以他说：“你不能跟梅尔文演戏
但是我想做音乐”
|
|
54:10
|
[Mitchell] And their contribution added to the sweaty paranoia of Sweetback.
|
然后他们的贡献加强了
《斯维特拜克坏蛋之歌》的偏执妄想
|
|
54:16
|
Unlike the sweet and muscular R&B
|
与有力量和旋律的蓝调不同
|
|
54:18
|
we'd later instantly recognize as Earth, Wind & Fire,
|
我们立刻就能识别出地火风
|
|
54:22
|
their Sweetback score is discordant, ribbons of screeching avant-garde jazz
|
他们的《斯维特拜克》歌曲
很不协调 刺耳的前卫爵士乐飘带
|
|
54:26
|
with a pounding layer of percussion underneath.
|
底下有一层重打击乐
|
|
54:29
|
The music exists to make us aware
|
这首音乐的存在是为了让我们意识到
|
|
54:31
|
we're being plunged into a world the movies shied away from.
|
我们掉入了电影所避免的世界
|
|
54:36
|
It combined genres swiftly,
|
这很快结合了不同流派
|
|
54:37
|
with reflexes as keen as those of director Van Peebles.
|
和范·皮布尔斯导演一样的敏锐反应
|
|
54:41
|
♪ Run, Sweetback! ♪
|
快跑 斯维特拜克！
|
|
54:44
|
-♪ Run, motherfucker! ♪ -[gospel beat playing]
|
快跑 混蛋！
|
|
54:47
|
♪ They bled your sister! But they won't bleed me! ♪
|
他们把你妹妹杀了！
但他们无法杀我！
|
|
54:51
|
♪ Run, Sweetback! ♪
|
快跑 斯维特拜克！
|
|
54:53
|
♪ Run, motherfucker! ♪
|
快跑 混蛋！
|
|
54:55
|
♪ They bled your mama! ♪
|
他们杀了你妈妈！
|
|
54:57
|
♪ They bled your papa But they won't bleed me! ♪
|
他们杀了你爸爸 但他们无法杀我！
|
|
55:03
|
My dad would actually have me talk to people in the lobby.
|
我爸爸会让我跟大厅里的人说话
|
|
55:06
|
He'd say, "What d'you think?" And I'd tell him. He'd say,
|
他会说：“你觉得怎么样？”
我就会告诉他 他会说：
|
|
55:09
|
"I'm not interested in what you think. I wanna find out later."
|
“我对你的想法没兴趣
我之后就知道了”
|
|
55:11
|
"Go talk to those folks in the lobby and get an idea of how they saw the movie,
|
“去大厅里跟那些人谈谈
看看他们如何看待这个电影
|
|
55:16
|
how they heard about the movie, and what did they think of the film."
|
他们如何听说这个电影的
还有他们觉得这电影如何”
|
|
55:20
|
[Mitchell] It took an auteur and showman and salesman, such as Melvin,
|
这需要主创导演、演员和推销人员
比如梅尔文
|
|
55:23
|
to understand that by making the composer a creative partner on the project,
|
才能明白 让作曲家
成为项目的创意搭档
|
|
55:28
|
rather than just an employee,
|
而不只是一个员工
|
|
55:29
|
the director was investing in the movie's future.
|
导演是在投资电影的未来
|
|
55:32
|
Melvin saw that future in a way that would eventually start
|
梅尔文看到了那个
最终会在商业电影中
|
|
55:35
|
a new direction in the movie business.
|
开启新方向的未来
|
|
55:37
|
First, he made the story of the selling of the movie, its marketing.
|
首先 他讲了一个故事
电影的销售就靠电影营销
|
|
55:42
|
Otherwise, he'd have a Black movie that would get little or no attention.
|
不然他的黑人电影
就会得不到什么关注
|
|
55:46
|
More importantly, he had the soundtrack released first,
|
更重要的是 他先发布了配乐
|
|
55:49
|
counting on enhanced visibility as a sales tool.
|
指望电影比音乐的可见成为销售工具
|
|
55:53
|
He was an artist-entrepreneur.
|
他是一个艺术企业家
|
|
55:55
|
It didn't matter if it was art if no one saw it.
|
如果是艺术 没人看也没关系
|
|
55:59
|
Gordon Parks changed who the Black movie protagonist could be.
|
戈登·帕克斯改变了
黑人电影的主角会是谁
|
|
56:03
|
Sweetback and Shaft followed Muhammad Ali
|
斯维特拜克和夏福特
追随穆罕默德·阿里
|
|
56:06
|
into an era of Black figures no longer asking for permission to be.
|
进入到一个黑人角色时代
不再需要寻求许可就可以存在
|
|
56:11
|
Their scenes were staged to present them as assertive
|
他们的表演
是为了表现他们的坚定自信
|
|
56:14
|
rather than inviting,
|
而不是诱人
|
|
56:16
|
a chill attitude breaking with lowered-head likability.
|
是一种打破委曲求全的冷静态度
|
|
56:20
|
A flinty and ironic distance that forced the viewer to understand
|
保持着冷漠、讽刺的距离
强迫观众去理解
|
|
56:23
|
rather than have all explained.
|
而不是全部解释清楚
|
|
56:27
|
Listen to what I'm telling you, man. I'm here to help you.
|
听我说 我是来帮你的
|
|
56:31
|
I am an angel of God.
|
我是上帝派来的天使
|
|
56:33
|
[Mitchell] Harry Belafonte brought his silken intensity
|
哈利·贝拉方特为《黑天使》
|
|
56:36
|
back to the big screen for The Angel Levine,
|
把他软化的强度带回了大银幕
|
|
56:39
|
an experimental drama he produced.
|
是他制作的一个实验剧
|
|
56:41
|
Ending his self-imposed exile in this existential comedy
|
在这部存在主义喜剧中结束了他
多年不做电影的选择
|
|
56:44
|
that added a twist to the dilemma posed by Ralph Ellison
|
给拉尔夫·埃里森写的小说
《隐形人》中的困境
|
|
56:47
|
in his novel Invisible Man.
|
提供了一个新的角度
|
|
56:50
|
"What did I do to be so Black, blue, and heaven-sent?"
|
“我做了什么
才变得如此黑、忧郁、幸运？”
|
|
56:54
|
I am an angel.
|
我是一个天使
|
|
56:58
|
Have you come to take me away?
|
你是来带我走的吗？
|
|
57:01
|
No.
|
不是
|
|
57:03
|
I've come to give you life.
|
我是来给你生命的
|
|
57:05
|
[Mitchell] As a more divine and New Testament parallel,
|
作为更神圣的《圣经》新约
相似的东西
|
|
57:08
|
Sidney Poitier starred as Brother John.
|
西德尼·波蒂埃主演了约翰兄弟
|
|
57:11
|
In this fantasy, Poitier is a modest stranger
|
在这个幻想中
波蒂埃是一个端庄的陌生人
|
|
57:14
|
dropped into a conflict zone, withholding approval and judgment
|
掉入了一个冲突地带
没有许可和判断
|
|
57:18
|
as a taciturn angel of death torn between the past and the present.
|
作为一个沉默的死亡天使
陷入了过去和现在之间
|
|
57:22
|
This well-meaning fable serves to reflect Poitier's own plight.
|
这个善意的寓言是为了
反应波蒂埃自己的困境
|
|
57:28
|
Ossie Davis followed up Cotton Comes to Harlem
|
奥西·戴维斯在《龙虎黑煞星》之后
|
|
57:30
|
with a drama that focused on the tensions of generations of Black women
|
演了一个主要讲述在一个家庭里
几代黑人女性张力的
|
|
57:35
|
in a single household.
|
戏剧
|
|
57:36
|
Dear Lord, if you help me get this house for my mother,
|
亲爱的主 如果你帮我
为我妈妈得到这个房子
|
|
57:39
|
I'll never ask you for anything else, amen.
|
我就不再向你要求任何事了 阿门
|
|
57:42
|
[Mitchell] His young woman protagonist fighting to be heard and for her future,
|
他的年轻女主角为了被人认可
为了她的未来而奋斗
|
|
57:46
|
a subject much closer to landlocked reality
|
和他之前的电影相比
|
|
57:49
|
than his previous film.
|
这个主题无疑更贴近现实
|
|
57:51
|
Writer-director Ousmane Sembène once said that,
|
编剧导演奥斯曼·山本尼曾说过
|
|
57:54
|
"Between the on-screen families in Sounder and Black Girl,
|
“在《声响》和《黑姑娘》中
银幕上的家庭之间
|
|
57:58
|
there was a complete universe."
|
有一个完整的宇宙”
|
|
58:00
|
"That's the kind of film I'd like to make."
|
“那正是我想拍的那种电影”
|
|
58:03
|
And the film universe he saw inspired him to spend much of his career
|
他所看到的电影宇宙鼓舞了他
花了职业生涯的很多时间
|
|
58:07
|
dramatizing the impact on households of absent Black masculinity.
|
戏剧化了对缺乏黑人男子气概
对家庭的影响
|
|
58:12
|
Now, there's a line of reasoning that contends
|
有很多原因主张
|
|
58:15
|
that 1939 was the best year in movie history.
|
1939年是电影史上最棒的一年
|
|
58:19
|
But it is axiomatic that 1939 affirmed America's movie stature
|
但公认的是1939年
确认了美国电影的地位
|
|
58:24
|
as mythmaker for the world.
|
是世界上最佳的电影制作者
|
|
58:26
|
No period that includes Gone with the Wind will ever have that kind of appeal to me.
|
任何时期都不会比《乱世佳人 》
的时期 对我更有吸引力
|
|
58:30
|
The men who ran the studios created a pop culture mythology
|
那些经营电影公司的人创造了
流行文化的神话
|
|
58:34
|
that gave them the chance to run as far as they could from their origins.
|
这让他们有机会尽可能远地逃离原点
|
|
58:38
|
And they could will a hubristic version of America into being,
|
他们可能会创造一个骄傲自信的美国
|
|
58:43
|
an America that never existed
|
是一个美国从未存在过的境界
|
|
58:45
|
but much of this country believes still did.
|
但这个国家的很多人相信依然存在过
|
|
58:48
|
Probably most of the world still does.
|
可能世界上大部分地方依然存在
|
|
58:50
|
1939 let the studios churn out
|
1939年电影厂不顾质量大量出品
|
|
58:53
|
what they considered to be moral and literary
|
他们认为是道德和文学的东西
|
|
58:56
|
and catered to mainstream audiences with whitewashed myths.
|
用粉饰过的神话来迎合主流观众
|
|
59:00
|
I know, Huck. I'm her slave.
|
我知道 哈克 我是她的奴隶
|
|
59:02
|
But sometimes, I can't help wondering if it's right.
|
但有时候 我忍不住去想 这是否公平
|
|
59:05
|
[Mitchell] It's a step past appropriation to cultural colonialism.
|
这是踏过了分化挪用
向文化殖民主义走的一步
|
|
59:10
|
White actors can do a much better job with your culture, Latinx actors,
|
白人可以用你的文化、拉丁演员
做得更好
|
|
59:15
|
Pacific Islanders…
|
太平洋岛民…
|
|
59:17
|
-[applause] -Miss Dorothy March,
|
多萝西·马奇小姐
|
|
59:19
|
in her impersonation of Bill Robinson,
|
她扮演哈莱姆国王
|
|
59:21
|
the King of Harlem.
|
比尔·罗宾逊
|
|
59:23
|
[Mitchell] …Black people.
|
…黑人
|
|
59:25
|
A body blow meant as a compliment.
|
一种实际上是重击的赞美
|
|
59:31
|
Most importantly, there was a handoff in 1939
|
最重要的是 在1939年发生了转移
|
|
59:34
|
that cemented the power of a central and debilitating myth
|
巩固了关于社会中黑人地位的
|
|
59:37
|
about the place of Blacks in society.
|
核心削弱神话的力量
|
|
59:40
|
Quittin' time!
|
停工时间到！
|
|
59:41
|
-Who says it's quittin' time? -I said it's quittin' time.
|
-谁说要停工了？
-我说了要停工
|
|
59:44
|
I's the foreman. I's the one says when it's quittin' time at Tara.
|
我是工头 我才是
在塔拉说停工时间的人
|
|
59:47
|
-Quittin' time! Quittin' time! -[gentle, dreamy music playing]
|
停工时间！
|
|
59:52
|
[Mitchell] They were both adaptations of books.
|
（《同族人》小托马斯·狄克逊
《乱世佳人》玛格丽特·米切尔）
|
|
59:54
|
The number-one grossing film of all time until 1925
|
1925年以前最卖座的电影
|
|
59:58
|
was D.W. Griffith's The Birth of a Nation.
|
是D.W. 格里菲斯的
《一个国家的诞生》
|
|
1:00:01
|
An even bigger hit was 1939's Gone with the Wind,
|
更热卖的是1939年的《乱世佳人》
|
|
1:00:04
|
which remained the biggest box-office sensation until 1965
|
在1965年前一直保持着最高的票房
|
|
1:00:09
|
and became champ again in 1971.
|
在1971年又再次位居榜首
|
|
1:00:12
|
1972 should have been the year for Rupert Crosse's career to flower.
|
1972年本该成为鲁珀特·克罗斯
事业绽放的一年
|
|
1:00:16
|
His fans Jack Nicholson, Robert Towne, and director Hal Ashby
|
他的粉丝杰克·尼科尔森
罗伯特·汤和哈尔·阿什比导演
|
|
1:00:20
|
created a role for Crosse in the adaptation of The Last Detail.
|
在《最后的细节》改编中
为克罗斯创建了一个角色
|
|
1:00:24
|
But Crosse was diagnosed with leukemia before shooting began.
|
但克罗斯在开拍前
被诊断出患了白血病
|
|
1:00:28
|
Filming was delayed in hopes he'd be able to participate,
|
因为希望他能参加 拍摄被推迟了
|
|
1:00:31
|
but Crosse died before filming started.
|
但克罗斯在开拍前去世了
|
|
1:00:35
|
In an Esquire magazine article,
|
在《时尚先生》杂志的一篇文章里
|
|
1:00:37
|
Ashby reflected on Crosse's humor and grace in the face of mortality.
|
导演阿什比表达了
克罗斯在面对死亡时的幽默与优雅
|
|
1:00:42
|
The phrase "corrosive lyricism" was coined
|
“讽刺诗”这个短语被创造出来
|
|
1:00:44
|
to summarize Ashby's style and inspired by Crosse's outlook.
|
来总结阿什比的风格
是受到克罗斯人生观的鼓舞
|
|
1:01:01
|
Isaac Hayes used his performance at the 1972 Oscars,
|
艾萨克·海斯在1972年奥斯卡上
成为了第一个黑人最佳歌手
|
|
1:01:05
|
when he became the first Black Best Song winner,
|
在颁奖典礼上 他用自己的表演
|
|
1:01:09
|
to show his Hot Buttered Soul grandeur to the entire planet.
|
向整个地球展示了他那张专辑
《热黄油灵魂》的壮丽
|
|
1:01:12
|
For me, watching at home, and thrilled
|
对我来说 在家看着
|
|
1:01:15
|
by watching Hayes turn slave chains into superstar chain mail,
|
海斯把奴隶锁链
变成超级巨星锁甲 我感到很激动
|
|
1:01:19
|
it felt like a comet crashing into the Earth,
|
感觉就像是彗星坠入地球
|
|
1:01:22
|
an alteration of the atmosphere,
|
大气层发生改变
|
|
1:01:24
|
letting us know things would never be the same.
|
让我们知道这一刻发生了永久的改变
|
|
1:01:29
|
It was a dizzying, thrilling mix
|
这是一种令人眼花缭乱的混音
|
|
1:01:31
|
that introduced an element that made Black film culture more attractive
|
引入了一种元素 让黑人电影文化
|
|
1:01:35
|
than films from the so-called mainstream.
|
比所谓的主流电影吸引人
|
|
1:01:38
|
That element was heroism.
|
那个元素就是英雄主义
|
|
1:01:40
|
Now, cockroach, let's run that shit down from the top again.
|
现在 蟑螂 我们从头再来一次
|
|
1:01:44
|
[Mitchell] Unlike their white counterparts,
|
与白人同僚不同
|
|
1:01:46
|
who wore their misery like runway accessories,
|
白人的痛苦是矫揉造作
|
|
1:01:48
|
Black actors played these antiheroes with a confidence that bordered on heroism
|
黑人演员用接近英雄主义的自信
来演这些非英雄角色
|
|
1:01:52
|
and then crossed that border.
|
然后比英雄演得更好
|
|
1:01:54
|
You gonna drop back in. Yeah.
|
你要回去了
|
|
1:01:56
|
'Cause you didn't do nothin' but talk that brotherhood love and peace.
|
因为你什么都卖座
只是对兄弟友好平和地讲话
|
|
1:02:00
|
You didn't change nothin', which means work
|
你什么都没改变 这意味着努力
|
|
1:02:02
|
and making that talk, talk, talk happen. But we can't drop into nothin'
|
让那些话语实现
但我们不能也什么都不做
|
|
1:02:06
|
'cause we never had nothin' to drop out of.
|
因为反正我们也从来没有参与过
|
|
1:02:08
|
[Mitchell] In the wake of Shaft, there were bronze remakes of films noir.
|
在《黑街神探》之后出现了
黑色电影的劣质重拍
|
|
1:02:13
|
Hit Man, a new take on Get Carter.
|
《杀手》是《找到卡特》的翻拍
|
|
1:02:15
|
You are a real superstar, baby.
|
你真是个超级巨星 宝贝
|
|
1:02:18
|
[Mitchell] And Cool Breeze, yet another remake of The Asphalt Jungle
|
还有《凉风》
也是《夜阑人未静》的翻拍
|
|
1:02:21
|
that made that term more literal
|
翻拍版本更贴近原标题的字面意思
|
|
1:02:23
|
than the nouvelle vague could ever have dreamed possible.
|
比新潮所能想象到的更贴近
|
|
1:02:27
|
In these films, protagonists stepped into the frame
|
在这些电影中 主角们走进画面
|
|
1:02:30
|
with a swagger that'd never been allowed in films above the lower depths.
|
带着之前社会低级人物
不被允许在电影里展现的自信
|
|
1:02:36
|
I hate to say this,
|
我不想这么说
|
|
1:02:38
|
but I am such a pretty motherfucker.
|
但我是个漂亮的人
|
|
1:02:45
|
Yeah!
|
对！
|
|
1:02:46
|
[Mitchell] This peak year in Black film moved so many boundaries
|
这一年是黑人电影的高峰
跨越了许多边界
|
|
1:02:49
|
that movies were changed forever.
|
电影也因此被永远地改变了
|
|
1:02:52
|
For the first time, two Black women were nominated for Best Actress.
|
有史以来第一次有两名黑人女性
获得最佳女主角提名
|
|
1:02:55
|
Diana Ross for her first leading role
|
戴安娜·罗斯第一次做主角
|
|
1:02:58
|
and the divine Cicely Tyson for Sounder…
|
还有《儿子离家时》中
神圣的西塞莉·泰森
|
|
1:03:01
|
Cropping season is a long way off, Mr. Perkins.
|
种植季节还早着呢 珀金先生
|
|
1:03:04
|
By that time, Nathan ought to be home.
|
到那时 内森应该已经回家了
|
|
1:03:07
|
If he ain't, believe me, the children and me will do the croppin'.
|
如果他没回来 相信我
我和孩子们会去收割
|
|
1:03:10
|
I never got the… the chance to meet Miss Cicely Tyson.
|
我一直没机会见到西塞莉·泰森小姐
|
|
1:03:14
|
She always reminded me of my grandmother.
|
她总是让我想起我的祖母
|
|
1:03:16
|
She just kind of personified this… this elegance and this regal air of--
|
她就是那种优雅和帝王气质的化身…
|
|
1:03:22
|
Just the way she moved and spoke.
|
就是她的动作和说话方式
|
|
1:03:25
|
No.
|
不是
|
|
1:03:26
|
I'm fixin' to bake a cake for David Lee to take to your daddy this time.
|
这次我准备给大卫·李烤个蛋糕
带去给你爸爸
|
|
1:03:30
|
Good to see Cicely. 'Cause I grew up watching Cicely Tyson.
|
见到西塞莉真好 因为我是
看着西塞莉·泰森影片长大的
|
|
1:03:34
|
It was good to see us.
|
很高兴见到我们黑人
|
|
1:03:37
|
These movies were about us.
|
这些电影是关于我们的
|
|
1:03:41
|
Son, don't get too used to this place,
|
儿子 别太习惯这个地方
|
|
1:03:44
|
'cause wherever you is, I'm gonna love you.
|
因为无论你在哪儿 我都会爱你
|
|
1:03:47
|
[Mitchell] …which also got a Best Actor nomination for her costar, Paul Winfield.
|
…电影中 她的搭档保罗·温菲尔德
也获得了最佳男主角提名
|
|
1:03:51
|
I didn't find myself, as a child, attracted to movies where we were victims,
|
我小时候 并没有认为
那些我们是受害者
|
|
1:03:57
|
where we were powerless. I didn't want that as a kid.
|
我们无能为力的电影吸引人
我小时候可不想看那些
|
|
1:04:00
|
I saw Sounder again recently, and I appreciate it much more as an adult.
|
最近我又看了《当儿子离家时》
作为一个成年人 我更加欣赏它
|
|
1:04:04
|
I saw layers in it that I just didn't see as a kid.
|
我看到了我小时候没有看到的层次
|
|
1:04:08
|
[Mitchell] And Diana Ross was nominated for Best Actress
|
戴安娜·罗斯凭借她在第一部电影
|
|
1:04:11
|
for her first leading role, in the first film about Billie Holiday,
|
摩城出品的讲述比莉·哈乐黛的电影
《蓝调名伶》中
|
|
1:04:15
|
the Motown-produced Lady Sings the Blues.
|
首次主演获得最佳女主角提名
|
|
1:04:26
|
It wasn't a movie, as so many are, about being Black.
|
这部电影不像很多电影那样
讲述作为黑人的故事
|
|
1:04:32
|
It was about being talented.
|
它讲述的是作为天才的故事
|
|
1:04:34
|
It was Bob Mackie costumes… [chuckles] …and Diana Ross's glamour
|
是鲍勃·麦基的服装
还有戴安娜·罗斯的魅力
|
|
1:04:38
|
and Billy Dee Williams, well, hell, you know. [chuckles]
|
还有比利·迪·威廉姆斯 对 你懂的
|
|
1:04:46
|
[De Passe] Frank Yablans was running Paramount.
|
弗兰克·亚布兰斯
当时是派拉蒙的掌门人
|
|
1:04:48
|
He told Berry Gordy, after seeing a rough cut of the film,
|
他在看过电影的粗略剪辑后
告诉贝瑞·戈迪
|
|
1:04:52
|
that they weren't gonna put any more money in it.
|
他们不会再往里面投钱了
|
|
1:04:54
|
And Berry Gordy said to Frank,
|
贝瑞·戈迪对弗兰克说
|
|
1:04:57
|
"We're not finished. We've got so much more to do."
|
“我们还没完成
我们有更多的事要做”
|
|
1:05:00
|
And Frank said…
|
然后弗兰克说…
|
|
1:05:01
|
I won't go into the story… [chuckling] …of what Frank really said,
|
我就不细讲弗兰克具体说了什么
|
|
1:05:05
|
but he basically said it's like you've got the clap, and now you wanna give it to me.
|
但他基本上是说 就像你得了淋病
现在你想把它传染给我
|
|
1:05:09
|
Because we've never spent more than this amount of money
|
因为我们从来没有在一部
|
|
1:05:12
|
on a quote-unquote Black film before.
|
所谓的“黑人电影”上花过这么多钱
|
|
1:05:14
|
And he said, "Well, Frank, what can I do?"
|
他说：“弗兰克 我能做什么？”
|
|
1:05:16
|
He said, "Write me a check for $2 million, and you can do anything you wanna do."
|
他说："给我写一张200万美元的支票
然后你想做什么就做什么"
|
|
1:05:21
|
And he did.
|
他就这样做了
|
|
1:05:23
|
[Mitchell] Lady Sings the Blues was an early, all-out glam show,
|
《蓝调名伶》是一场早期
全力以赴的华丽演出
|
|
1:05:26
|
a gleaming establishment of Black glamour in the movies.
|
是电影中
黑人魅力熠熠生辉形象的确立
|
|
1:05:30
|
When I think of Diana Ross, I also think of fashion
|
当我想起戴安娜·罗斯
我也会想到时尚
|
|
1:05:33
|
and how many references I've used of her
|
想到我在红毯活动、摄影
|
|
1:05:36
|
for red carpet events or for photo shoots
|
或者我塑造的这些不同角色中
|
|
1:05:38
|
or for these different characters that I guess I build.
|
有多少灵感来自于她
|
|
1:05:42
|
The fingers and the hair and the whole thing
|
手指、头发、所有的一切
|
|
1:05:46
|
is just like, "Oh my God!"
|
一切都那么不可思议
|
|
1:05:48
|
And then she can act.
|
然后她还会演戏
|
|
1:05:51
|
[Mitchell] Not just for Ross but her costar,
|
不仅是罗斯 还有她的搭档
|
|
1:05:54
|
a literal embodiment of tall, dark, and handsome,
|
又高又黑又帅的真实化身
|
|
1:05:58
|
Billy Dee Williams.
|
比利·迪·威廉姆斯
|
|
1:06:01
|
When Billy Dee Williams came on, every woman in Hollywood just hollered…
|
当比利·迪·威廉姆斯出场时 好莱坞的每个女人都在欢呼…
|
|
1:06:07
|
And I'm… I'm saying, "Oh my God!"
|
我还说：“我的天啊！”
|
|
1:06:09
|
"What… what the…" [laughing] "What's goin' on?!"
|
“什么… 怎么回事？”
|
|
1:06:16
|
First of all, when I walked down those stairs, I fell in love with myself.
|
首先 当我走下楼梯的时候
我感觉爱上了自己
|
|
1:06:21
|
I said, "My goodness gracious!"
|
我说：“我的老天爷啊！”
|
|
1:06:24
|
I mean, I was smitten.
|
我被迷住了
|
|
1:06:27
|
[man] Do you want my arm to fall off?
|
你想让我的胳膊掉下来吗？
|
|
1:06:30
|
[Williams] Even that scene, you know, "Do you want my arm to fall off?"
|
即使是那个场景
“你想让我的胳膊掉下来吗？”
|
|
1:06:33
|
I mean, couldn't contain myself.
|
我都无法控制自己
|
|
1:06:35
|
I kept laughing because I was getting special lighting.
|
我一直在笑
因为我得到了特殊的光照
|
|
1:06:38
|
You know, it was like the old movie days.
|
就像以前的电影一样
|
|
1:06:43
|
I was in hysterics.
|
我已经歇斯底里了
|
|
1:06:45
|
I had to contain myself. [laughing]
|
我只能克制自己
|
|
1:06:48
|
Oh, it was… it was very funny for me because it was like something
|
这对我来说非常好笑 因为这种事
|
|
1:06:52
|
that never happened to me before,
|
在我做电影的所有经历中
|
|
1:06:54
|
you know, in all of the experiences I had doing cinema.
|
从未发生过
|
|
1:06:59
|
[Mitchell] '72 was a breakthrough year for Black talent.
|
1972年是黑人天才的突破之年
|
|
1:07:02
|
Playwright Lonne Elder III was nominated for the Sounder screenplay,
|
剧作家洛内·埃尔德三世因为
《当儿子离家时》的剧本获得提名
|
|
1:07:06
|
and more importantly, it was the year
|
更重要的是 那年
|
|
1:07:08
|
that the first Black woman was nominated for screenwriting,
|
第一位黑人女性获得了编剧提名
|
|
1:07:11
|
Suzanne De Passe, part of the script team for Lady Sings the Blues.
|
苏珊娜·迪·帕斯是
《蓝调名伶》剧本团队的一员
|
|
1:07:15
|
It was a singular achievement until Dee Rees was nominated in 2017
|
这是个非凡异常的成就
直到2017年 迪·里斯
|
|
1:07:20
|
for her script for Mudbound, which makes her
|
凭借《泥土之界》的剧本
获得提名
|
|
1:07:22
|
only the second Black woman to be nominated for screenwriting.
|
这让她成为第二位
获得编剧提名的黑人女性
|
|
1:07:26
|
[De Passe] Mr. Gordy handed me the script. And he said,
|
戈迪先生把剧本递给我 他说
|
|
1:07:30
|
"Read this and tell me what you think."
|
“读一读 然后告诉我你的想法”
|
|
1:07:33
|
And I was, like, horrified
|
我当时吓坏了
|
|
1:07:35
|
because I felt it was very stereotypical.
|
因为我觉得这很老套
|
|
1:07:39
|
The perception of… who we are
|
这是对我们是谁的认知
|
|
1:07:42
|
as opposed to who we are and can be.
|
而不是我们是谁、我们可以成为谁
|
|
1:07:46
|
And so I began working with Sidney Furie. Then Chris Clark was added.
|
于是我开始和西德尼·富里合作
然后克里斯·克拉克加入了
|
|
1:07:50
|
She was an artist on the label, really bright woman.
|
她之前是厂牌的艺人
非常有活力的女人
|
|
1:07:53
|
She and I became a team.
|
她和我成了一个团队
|
|
1:07:54
|
[Mitchell] The seeds are planted here
|
在这里播下了种子
|
|
1:07:56
|
for what becomes the most important story of the era.
|
将成为那个时代最重要的故事
|
|
1:07:59
|
It's the contribution by women that becomes dominant.
|
女性的贡献占据了主导地位
|
|
1:08:04
|
In addition to the accolades, the class of '72 was also action-packed.
|
除了荣誉之外
1972年的片子也很让人激动
|
|
1:08:11
|
The Western, Buck and the Preacher, directed by Sidney Poitier
|
由西德尼·波蒂埃执导的
西部片《布克与牧师》
|
|
1:08:16
|
and also starring him and Harry Belafonte.
|
也是由他和哈利·贝拉方特主演的
|
|
1:08:20
|
Belafonte had hopes for the film that were never fulfilled.
|
贝拉方特对这部电影的有些希望
始终未能实现
|
|
1:08:23
|
[Belafonte] The big blow was to find that the Black community didn't support it.
|
最让人失望的是发现黑人社区不支持
|
|
1:08:27
|
That sent me into a place where I felt betrayed.
|
这让我陷入了感觉被背叛的境地
|
|
1:08:32
|
I felt like, "Why didn't the Black community support this film
|
我觉得：“为什么黑人社区
不像白人支持
|
|
1:08:36
|
the way the whites would've supported Butch Cassidy and the Sundance Kid?"
|
《虎豹小霸王》那样
支持这部电影？”
|
|
1:08:41
|
"This is our version of the same thing." But they didn't.
|
“这是我们版本的那部电影”
但他们没有支持
|
|
1:08:44
|
And, uh, then I knew I had several adversaries,
|
然后我知道我有几个敌人
|
|
1:08:48
|
Black perception of itself
|
黑人自己眼中的黑人形象
|
|
1:08:50
|
and Black perception as the world saw us.
|
和世界眼中的黑人形象
|
|
1:08:55
|
[Mitchell] Fred Williamson starred in the revenge-slave Western
|
弗雷德·威廉姆森主演了
一部讲述奴隶复仇的西部片
|
|
1:08:58
|
The Legend of Nigger Charley,
|
《黑鬼查理传奇》
|
|
1:09:00
|
a title that was cheeky and outrageous even then.
|
即使在那个时候
这个标题也很厚颜无耻
|
|
1:09:04
|
And by the way, the title no longer exists.
|
顺便说一句 标题已经不存在了
|
|
1:09:07
|
The movie is now The Legend of Black Charley.
|
这部电影现在是《黑人查理传奇》
|
|
1:09:10
|
This brazen poster,
|
这张厚颜无耻的海报
|
|
1:09:11
|
featuring a slight turn on the daguerreotype, said it all.
|
在银版照相法上稍微改一下
就说明了一切
|
|
1:09:15
|
"Somebody warn the West. Nigger Charley ain't running no more."
|
“有人警告西部 黑鬼查理不再跑了”
|
|
1:09:21
|
Black was also finally added to the horror film in a serious way,
|
黑人终于以严肃的方式
加入了恐怖电影里
|
|
1:09:25
|
with a commanding William Marshall starring as the tragic vampire Blacula.
|
由威风凛凛的威廉·马歇尔
饰演悲剧吸血鬼布莱库拉
|
|
1:09:30
|
Slavery has merit, I believe.
|
我相信奴隶制是有好处的
|
|
1:09:33
|
"Merit"?
|
“好处”？
|
|
1:09:35
|
You find "merit" in barbarity?
|
你在野蛮中找到“好处”了吗？
|
|
1:09:39
|
[Mitchell] I'd always thought that the good thing about the institutional racism
|
我一直认为制度性种族主义的好处
|
|
1:09:43
|
that kept Black people from being central figures in horror films was,
|
让黑人无法成为恐怖片的主角
|
|
1:09:46
|
for African Americans, the implicit understanding
|
是对非裔美国人来说 含蓄理解
|
|
1:09:49
|
that no supernatural force or threat of possession
|
没有什么超自然的力量
或者恶魔附身的威胁
|
|
1:09:53
|
could be more monstrous than slavery
|
会比奴隶制
|
|
1:09:55
|
or the Tuskegee Experiment,
|
或者塔斯基吉实验
|
|
1:09:57
|
or Emmett Till, a real-life Black innocent,
|
或者艾米特·提尔更可怕
他是现实生活中无辜的黑人
|
|
1:10:01
|
who was the victim of monsters even the movies were afraid of,
|
迫害他的那些禽兽
如果没有电影的美化
|
|
1:10:05
|
when they weren't glamorizing them.
|
电影都不敢拍
|
|
1:10:09
|
With the Black press forcing the mainstream media
|
黑人媒体逼迫主流媒体
|
|
1:10:11
|
to cover Emmett Till's death with an unblinking gaze
|
不间断报道艾米特·提尔的死
|
|
1:10:14
|
and movies stepping up to recount Black horrors
|
电影也开始叙述黑人恐怖
|
|
1:10:17
|
such as slavery and institutional cruelty,
|
比如奴隶制和制度的残忍
|
|
1:10:20
|
a film take on the chaos caused by the death of Emmett Till
|
一部讲述艾米特·提尔之死
造成混乱的电影
|
|
1:10:24
|
was the moment Black audiences were waiting for.
|
是黑人观众所等待的时刻
|
|
1:10:27
|
That it never happened was a subtle hint of where the real power was in Hollywood.
|
但它从来没有发生过
也就暗示了好莱坞真正权力所在
|
|
1:10:35
|
[Burnett] I remember the thing that woke me up, really woke me up,
|
我记得那个真正让我清醒
真正震撼我的事情
|
|
1:10:37
|
was the Emmett Till picture on the Jet magazine.
|
是艾米特·提尔在
《杰特》杂志上的照片
|
|
1:10:40
|
I mean, talking about someone, grew up, the next day, a different person.
|
我在第二天就完全成长了
变了一个人似的
|
|
1:10:46
|
I still have the images I saw in Jet magazine about Emmett Till.
|
我还留着在《杰特》杂志上
看到的艾米特·提尔的照片
|
|
1:10:49
|
From that day on, I was aware of what his mother must have felt like.
|
从那天起 我就理解他妈妈的感受了
|
|
1:10:56
|
[Fargas] I remember as a kid,
|
我记得小时候
|
|
1:10:57
|
looking at Jet magazine and seeing Emmett Till's body,
|
看《杰特》 杂志
看到了艾米特·提尔
|
|
1:11:01
|
and that impacted me.
|
那震撼到了我
|
|
1:11:04
|
In some ways, we've been worn down to where we see pain and misery,
|
在某种程度 我们已经对
痛苦和苦难习以为常了
|
|
1:11:07
|
and it does nothing,
|
已经不会造成伤害
|
|
1:11:10
|
and it does nothing to us,
|
不会伤害到我们了
|
|
1:11:12
|
or it's onto the next one because we know it's gonna happen again.
|
否则我们就会开始寻找下一个被害
因为我们知道这会再次发生
|
|
1:11:16
|
But it's getting more personal. It's getting closer and closer to…
|
但这越来越针对个人了 越来越接近…
|
|
1:11:21
|
to just humanity, man's inhumanity to man.
|
人性 人类对人类的不人道
|
|
1:11:26
|
[Mitchell] That ongoing terror was beautifully defined
|
持续的恐怖随着马文·盖伊的
《怎么了》的发表
|
|
1:11:29
|
with the release of Marvin Gaye's What's Going On.
|
被美丽的定义了
|
|
1:11:32
|
He was the first to sing social protest as a seducer
|
他是第一个以诱惑者的身份
而不是演说式的
|
|
1:11:36
|
rather than being declamatory.
|
唱出社会抗议的人
|
|
1:11:37
|
And Gaye released another epical album in '72.
|
盖伊在72年又发行了一张专辑
|
|
1:11:41
|
This time a soundtrack
|
这次的音乐
|
|
1:11:43
|
that gave him the opportunity to return to his jazz roots.
|
让他有机会回归了爵士乐的出身
|
|
1:11:46
|
-["Trouble Man" by Marvin Gaye playing] -♪ I come up hard, but now I'm cool ♪ ♪ I didn't make it, baby Playin' by the rules… ♪
|
（《检修员》1972年
导演：伊万·迪克森）
|
|
1:11:55
|
[Mitchell] Black film soundtracks had so often taken their cues from What's Going On,
|
黑人电影配乐经常
受《怎么了》的影响
|
|
1:12:00
|
one of the most gorgeous and honestly revolutionary acts of Black pop culture,
|
这是黑人流行文化中最华丽
最真诚的革命行为之一
|
|
1:12:05
|
so it made sense for Marvin Gaye to do the same.
|
所以马文·盖伊也如此是很合理的
|
|
1:12:08
|
He submitted the state of African-American affairs
|
他表示了非裔美国人的状况
|
|
1:12:11
|
and picked up his musical autobiography with his Trouble Man score
|
以《检修员》配乐
选择了他的音乐自传
|
|
1:12:15
|
where he left off at What's Going On.
|
不再使用《怎么了》
|
|
1:12:21
|
And the movie music that would follow in its wake
|
随后的电影音乐
|
|
1:12:24
|
continued to assess the collateral damage of oppression
|
继续评估压迫的间接危害
|
|
1:12:27
|
that he spelled out earlier.
|
那是他早期就提到的
|
|
1:12:34
|
[Mitchell] But ironically, the most sublime of these scores
|
但讽刺的是 这些配乐中分数最高的
|
|
1:12:37
|
came from an artist whose influence was evident
|
来源于一个明显对马文·盖伊
|
|
1:12:40
|
on Marvin Gaye's break from old-time pop-soul.
|
打破旧时代音乐影响很大的艺术家
|
|
1:12:43
|
It, too, included a honeyed falsetto
|
它也包括一个黑人高音
|
|
1:12:45
|
rendering the struggle of Black American life.
|
叙述了美国黑人挣扎的人生
|
|
1:12:48
|
♪ Ain't I clean? Bad machine Super cool, super mean ♪
|
我不干净吗？坏机器 《超飞》 超级坏
|
|
1:12:52
|
♪ Dealin' good for the Man Super fly, here I stand ♪
|
卖毒品 这人很酷 我站在这
|
|
1:12:55
|
♪ Secret stash… ♪
|
秘密据点…
|
|
1:12:57
|
[Mitchell] Curtis Mayfield's lyric summaries of social conditions
|
柯蒂斯·梅菲尔德的歌词
总结了社会状态
|
|
1:13:00
|
and a militant refusal to surrender to institutional inertia
|
激进地拒绝向制度让步
|
|
1:13:04
|
can be heard throughout his entire solo career.
|
可以在他的整个独唱生涯中听到
|
|
1:13:07
|
Mayfield's musical output for this decade spanned 20 albums,
|
梅菲尔德这十年的音乐作品
有20张专辑
|
|
1:13:11
|
among them five soundtracks.
|
其中有五个电影配乐
|
|
1:13:14
|
His sinewy intimacy and piercing songwriting
|
他敏锐的亲密感
和有穿透力的歌曲创作
|
|
1:13:17
|
set the tone in Black film from then on,
|
从此奠定了黑人电影的基调
|
|
1:13:20
|
starting with Super Fly, as an example for many of his fellow musicians.
|
由《超飞》开始
是他的很多同行音乐家的范例
|
|
1:13:25
|
And Mayfield took his lead from Melvin Van Peebles
|
梅菲尔德接受了
梅尔文·范·皮布尔斯的带领
|
|
1:13:28
|
with the unusual tactic of releasing the Super Fly score
|
用不寻常的策略 在电影出来之前
|
|
1:13:31
|
before the movie came out.
|
发布《超飞》的配乐
|
|
1:13:33
|
Because it was an immediate sensation,
|
因为立刻引起了轰动
|
|
1:13:36
|
the Super Fly soundtrack served as an invitation to the movie.
|
《超飞》配乐吸引了人们去看电影
|
|
1:13:40
|
John Calley, who ran Warner Bros. in the 1970s,
|
约翰·凯利
20世纪70年代经营华纳兄弟的人
|
|
1:13:44
|
told me he thought Super Fly started a trend,
|
告诉我他认为《超飞》
引领了一个潮流
|
|
1:13:47
|
using the soundtracks to create excitement about the movies
|
用配乐来在戏院放映前
|
|
1:13:50
|
prior to theatrical release.
|
（音乐由柯蒂斯·梅菲尔德所写）
|
|
1:13:53
|
The textures of Mayfield's score,
|
梅菲尔德配乐的质感
|
|
1:13:55
|
dramatizing and commenting on the life of the protagonist,
|
戏剧化地评论了主角的生活
|
|
1:13:58
|
was reflected in the down and dirty accomplishment
|
表现在了放映技师
詹姆斯·西尼奥雷利的
|
|
1:14:01
|
of cinematographer James Signorelli.
|
质朴的成就中
|
|
1:14:03
|
One of the best foot-chase scenes in movies, with no stuntmen,
|
电影里最好的徒步追踪的场景之一
没有特技演员
|
|
1:14:07
|
was caught in the film's guerilla shooting style by Signorelli.
|
被西尼奥雷利展现在了
电影的游击拍摄风格中
|
|
1:14:10
|
[Signorelli] He had to have a route of escape. Jimmy was the guy he was chasing.
|
他必须有逃跑路线
吉米是他在追的人
|
|
1:14:20
|
We were standing around, and Ron said, "I can jump that fence."
|
我们当时站着 罗恩说：
“我可以跳过围栏”
|
|
1:14:26
|
And that was all there was to it. That was all the rehearsal.
|
就是这样 那就是彩排
|
|
1:14:29
|
It certainly wasn't more than one take, I'll tell you that.
|
我会告诉你 当然不止一次
|
|
1:14:31
|
It was definitely a combination of the two aesthetics.
|
这绝对是两种美感的结合
|
|
1:14:35
|
One was the documentary photography that people had been doing,
|
一个是人们一直在拍的纪录片
|
|
1:14:38
|
particularly Leacock, Pennebaker, you know, Maysles, all those guys,
|
尤其是里考克、潘纳贝克、
梅斯尔所有这些人
|
|
1:14:42
|
myself included, you know, Bob Elfstrom.
|
包括我自己 你知道 鲍勃·艾弗斯托
|
|
1:14:44
|
The stuff that we were all doing was bleeding into the technique
|
我们所做的都是在拍摄故事片的
|
|
1:14:48
|
of shooting feature films,
|
技术中传播
|
|
1:14:49
|
particularly where the environment was a third party.
|
尤其是在电影之外的真实世界里
|
|
1:14:53
|
[Mitchell] Signorelli's improvisational approach was applied
|
西尼奥雷利的即兴创作方法用在了
|
|
1:14:56
|
to other kinds of action in Super Fly,
|
《超飞》的其他动作中
|
|
1:14:58
|
such as the scene with Sheila Frazier and star Ron O'Neal
|
比如希拉·弗雷泽和明星
罗恩·奥尼尔的场景中
|
|
1:15:02
|
that was frank and passionate about Black love.
|
那是对黑人爱情的坦率和热情
|
|
1:15:05
|
I can feel from you what it's like out there.
|
我能从你身上感受到外面的样子
|
|
1:15:09
|
I see what it does to you,
|
我知道它对你有什么影响
|
|
1:15:10
|
and I know… I know how dope helps hold your head together.
|
我知道大麻如何帮你保持清醒
|
|
1:15:15
|
I don't want your privacy, baby.
|
我不想插手你的私人生活 宝贝
|
|
1:15:18
|
All I wanna do is help you share the weight.
|
我只想帮你分担重量
|
|
1:15:20
|
-[sensual funk music playing] -[Frazier] I said, "Once the suds go away,
|
我说：“一旦泡沫消失
|
|
1:15:24
|
we have to stop it and refill the suds because I don't wanna be seen."
|
我们就必须停止然后重填泡沫
因为我不想被看见”
|
|
1:15:28
|
I don't know what I was thinking about. It was pretty hard not to be seen.
|
我不知道自己当时在想什么
很难不被看到
|
|
1:15:33
|
I would not know that at the premiere of that movie
|
我不会知道在电影的首映礼上
|
|
1:15:37
|
that they put that scene in slow motion.
|
他们把那个场景做了慢放
|
|
1:15:40
|
[Signorelli] And I believe at one point, Judith Crist said,
|
我相信有一次朱迪丝·克里斯特说
|
|
1:15:43
|
"It was the most tasteful and erotic scene in cinema history."
|
“那是电影史上
最有品位和色情的场景”
|
|
1:15:48
|
[Frazier] Richard Roundtree was the one who helped me get the audition.
|
是理查德·朗德垂帮我拿到试镜的
|
|
1:15:52
|
Richard said, "You've gotta walk in like it's yours."
|
理查德说： “你得像
你已经拿到这个角色一样进去”
|
|
1:15:57
|
I said, "Okay, all right."
|
我说：“好吧”
|
|
1:15:58
|
So I walked in, and I put my feet up on the desk,
|
所以我走进去了 把脚放在桌子上
|
|
1:16:02
|
on Sig Shore's desk, and I said, "You know what,
|
在西格·肖尔的桌子上
我说：“你知道的
|
|
1:16:04
|
you don't have to see another person because the film is mine."
|
你不用再试其他人了
因为这个角色已经是我的了”
|
|
1:16:08
|
Gordon said, "You've got this!"
|
戈登说：“是你的了！”
|
|
1:16:10
|
Well, after Gordon told me I had it, and I was so ecstatic,
|
在戈登告诉我得到这个角色之后
我很兴奋
|
|
1:16:14
|
then he had to call me and apologize and say,
|
然后他给我打电话道歉说：
|
|
1:16:16
|
"I'm so sorry, but Sig Shore wanted a different look."
|
“我很抱歉 但西格·肖尔想再看看”
|
|
1:16:20
|
"He wanted a very voluptuous woman."
|
“他想要一个非常性感的女人”
|
|
1:16:22
|
It was so devastating, I just changed all--
|
太打击人了 我刚换了所有…
|
|
1:16:26
|
I had two telephones. I changed both… both numbers,
|
我有两个电话 我都换了号码
|
|
1:16:29
|
so I would never have to speak to anybody again.
|
所以我不能再和任何人打电话了
|
|
1:16:33
|
About three months later, this guy walks up to me, you know, and he's like,
|
大概三个月后
这家伙走到我面前说
|
|
1:16:37
|
"I'm a producer." I'm like, "Good for you."
|
“我是制作人” 我说：“真不错”
|
|
1:16:40
|
So he says, "Well, what's your name?"
|
所以他说：“你叫什么？”
所以我给了他我的名字
|
|
1:16:41
|
So I gave him my name. He says, "Oh my God!"
|
所以他说：“你叫什么？”
所以我给了他我的名字 他说：“天啊！”
|
|
1:16:44
|
"We've been trying to find you for three months."
|
“三个月来我们一直在找你”
|
|
1:16:47
|
"We've been trying to find you." I'm saying, "Who's 'we'?"
|
“我们一直在找你”
我说：“你们是谁？”
|
|
1:16:50
|
So he says, "Well, I'm a producer on a movie called Super Fly." I said, "Eh-eh."
|
所以他说：“我是电影
《超飞》的制作人” 我说…
|
|
1:16:55
|
And as soon as I got home, the phone was ringing off the hook.
|
我一回到家电话就响了
|
|
1:16:58
|
[Mitchell] The result, John Calley told me, was that Super Fly,
|
约翰·凯利告诉我
结果是《超飞》
|
|
1:17:02
|
an independently made project that Warner Bros. bought for $150,000,
|
华纳兄弟花15万美元买的
一个独立制作的项目
|
|
1:17:06
|
a pittance by even 1972 standards,
|
即便是根据1972年的标准
|
|
1:17:09
|
went on to gross around $30 million.
|
毛收入大概是三千万美金
|
|
1:17:13
|
[Ron O'Neal] Super Fly has played to an awful lot of white people.
|
《超飞》已经给很多白人放过了
|
|
1:17:15
|
It's the only way you can do 19, 20 million dollars.
|
这是你赚1900万、2000万美元的
唯一办法
|
|
1:17:18
|
We've been in Boston 17 weeks.
|
我们在波士顿待了17周
|
|
1:17:20
|
We ran out of Black people in three weeks… [chuckling] …in Boston, you know?
|
我们在波士顿的三周
黑人观众就都看过了 你知道吗？
|
|
1:17:25
|
[male reporter] Super Fly, slang for cocaine among users,
|
《超飞》是吸毒者
对可卡因的俚语称呼
|
|
1:17:28
|
is the story of a Black New York City narcotics dealer.
|
是黑人、纽约城毒品经销商的故事
|
|
1:17:31
|
Strong objections to the film were raised today by R.L. Livingston
|
沃思堡更好影响协会的
R.L.·利文斯顿今天对这部电影
|
|
1:17:35
|
of the Better Influence Association in Fort Worth.
|
提出了强烈的反对
|
|
1:17:38
|
I don't know what this council can do, but I'm bringing it to your attention
|
我不知道这个委员会能做什么
但我要把这件事提出来引起你们注意
|
|
1:17:42
|
because you are the city council of Fort Worth,
|
因为你们是沃思堡市议会
|
|
1:17:44
|
and you represent the problem-solving division here,
|
你们代表着解决问题的部门
|
|
1:17:47
|
and I hope that we can do this thing here without the citizens going up on their own
|
我希望我们能在这里做这件事
而不需要市民们自己来
|
|
1:17:51
|
to boycott such trash and filth in our community.
|
抵制社区里的这种垃圾
|
|
1:17:55
|
How do you see your role in Super Fly, as a positive force or a negative one?
|
你如何看待你在《超飞》中的
角色 是正面的力量还是反面的？
|
|
1:18:01
|
Obviously, I consider it a positive one, or I never would have done the film.
|
显然我认为这是正面的
否则我不会去演这个电影
|
|
1:18:05
|
When we made Super Fly,
|
当我们拍《超飞》的时候
|
|
1:18:06
|
we made it about the way things actually are,
|
我是按真实的方式拍的
|
|
1:18:11
|
and we hoped it would be judged and criticized on that basis.
|
我们希望它在此基础上被评判
|
|
1:18:15
|
Uh, but my… from my observation, you know,
|
但根据我的观察 你知道
|
|
1:18:19
|
Super Fly has been largely criticized from some…
|
《超飞》已经被一些人大肆批评了…
|
|
1:18:23
|
…some, you know, some sphere,
|
一些 你知道 一些球体
|
|
1:18:25
|
some… some plane, some plateau, you know, that has no bearing on the film.
|
一些平面、一些高原
和电影无关的东西
|
|
1:18:30
|
[Bobby Seale] They use the Black community to make the movies in the first place.
|
他们首先利用黑人社区来制作电影
|
|
1:18:33
|
Uh, we're tired of these white producers coming in and making Black movies
|
我们受够了这些白人制作人
来制作黑人电影
|
|
1:18:36
|
and then, in turn, are exploiting the Black community.
|
然后反过来再剥削黑人社区
|
|
1:18:39
|
Also, the Black extras who live in Oakland and Berkeley and around the area
|
还有住在奥克兰和伯克利
以及附近的黑人
|
|
1:18:43
|
are only getting $10 a day. They should be getting $50 a day.
|
每天只能拿10美元
他们一天应该拿50美元
|
|
1:18:48
|
I think all the artists, since I know them personally,
|
我觉得所有的艺术家
因为我私下认识他们
|
|
1:18:52
|
uh, you know, are responsible people
|
你知道 是负责的人
|
|
1:18:55
|
who are concerned about what is happening in the Black communities.
|
会担心黑人社区发生了什么
|
|
1:18:59
|
We are, of course, uh, not able to make a motion picture alone.
|
我们当然无法独自拍电影
|
|
1:19:04
|
Many other elements go into the making of a motion picture,
|
拍电影的过程中还有很多其他元素
|
|
1:19:08
|
most important of which, I suppose, initially, would be huge sums of money.
|
最重要的
我认为最初的就是很多钱
|
|
1:19:14
|
[Mitchell] The footballers-turned-movie stars Jim Brown and Fred Williamson
|
足球电影明星吉姆·布朗
和弗雷德·威廉姆森
|
|
1:19:18
|
came through that year with two films each,
|
那年每人有两部电影
|
|
1:19:21
|
with impatient titles that are both synonyms and descriptors.
|
有着不耐烦的名字
都是同义词和描述
|
|
1:19:24
|
Like Shaft, whose sequel, Shaft's Big Score,
|
就像《黑街神探》的续集
《黑界神探大显神威》一样
|
|
1:19:27
|
sounds like it could be an athlete-turned-actor adventure.
|
听起来可能是一个
运动员变演员的冒险
|
|
1:19:32
|
And these films were all solidly tattooed with the label "blaxploitation,"
|
这些电影全部都被永远贴上了
“黑人剥削电影”的标签
|
|
1:19:37
|
a brand that offered acknowledgment and dismissal simultaneously.
|
一个同时提供认可和拒绝的品牌
|
|
1:19:41
|
Though these films coursed through the bloodstream of American social
|
虽然这些电影是美国社会
还有流行文化
|
|
1:19:45
|
and popular culture,
|
的一部分
|
|
1:19:46
|
they were seldom addressed in mainstream media,
|
他们很少被主流媒体关注
|
|
1:19:49
|
except, of course, to provoke panic.
|
当然除了用来引起恐慌
|
|
1:19:51
|
When I think of the word "blaxploitation," I think of the commodifying of Blackness.
|
当我想到“黑人剥削电影”
这个词的时候 我会想黑色的商品化
|
|
1:19:57
|
"How do we package and sell Blackness?"
|
“我们要怎么包装和销售黑色？”
|
|
1:19:59
|
"Exploitation" because they were white writers, white producers,
|
“剥削”因为他们是白人作家
白人制作人
|
|
1:20:05
|
white director, and then they took it to the Black community,
|
白人导演 然后他们把它
带去了黑人社区
|
|
1:20:09
|
and the Black community ate it up, made them a lot of money,
|
黑人社区喜欢它 为他们赚了很多钱
|
|
1:20:14
|
but not us.
|
但我们黑人没赚到钱
|
|
1:20:17
|
Is that not exploitation?
|
那不是剥削吗？
|
|
1:20:19
|
[Mitchell] Though the blaxploitation brand so often provoked debate and condemnation,
|
尽管黑人剥削电影的牌子
经常引起辩论和谴责
|
|
1:20:24
|
the films quite often generated appeal and profit.
|
这些电影经常产生吸引力和利润
|
|
1:20:31
|
Mainstream movies now regarded as classic
|
主流电影现在被认为是经典的
|
|
1:20:33
|
feature white stars, bored with heroism,
|
让白人明星主演厌倦了英雄主义
|
|
1:20:36
|
becoming antiheroes as a way of wrestling with that issue
|
成为反英雄来对抗这个问题
|
|
1:20:39
|
and frustrating audiences in the bargain.
|
在这个过程中令观众失望
|
|
1:20:44
|
The Black stars, and one wonders why that wasn't a film title from the era,
|
黑名星们 不知道为什么
那个时代没有这样的电影名字
|
|
1:20:49
|
made audiences beneficiaries of another natural evolution,
|
让观众成为另一种自然进化的受益人
|
|
1:20:52
|
swag in their own beauty and reveling in being in the center of the frame.
|
陶醉于自己的美丽
沉醉在摄像头的中心
|
|
1:20:58
|
Certainly, in the Five Families scene from The Godfather,
|
当然在《教父》中的五大家族场景中
|
|
1:21:01
|
Francis Coppola showed the thoughtlessness of these characters in this scene,
|
弗朗西斯·科波拉在这个场景中
展示了这个角色的欠考虑
|
|
1:21:05
|
clearly meant to be an indictment of them and not an approval of their thoughts.
|
显然是对他们的控诉
而不是对想法的支持
|
|
1:21:09
|
In my city, we would keep the trafficking to dark people, the colored.
|
在我的城市里 我们把非法交易
给深色皮肤的人、有色人种
|
|
1:21:12
|
They're animals anyway, so let them lose their souls.
|
反正他们都是动物
所以让他们失去灵魂吧
|
|
1:21:16
|
[Mitchell] Still, even understanding what the film's intent was,
|
但即便理解了电影的意图
|
|
1:21:19
|
that sentiment can be a little hard to hear.
|
那个观点也很难接受
|
|
1:21:21
|
But it did ask a question answered by many Black films,
|
但它确实问了个
由很多黑人电影回答的问题
|
|
1:21:24
|
which showed the rot left by drugs.
|
显示了毒品留下的腐烂
|
|
1:21:26
|
No! No! For God's sake!
|
不！上帝啊！
|
|
1:21:34
|
[Mitchell] Black films created a warrior class where there hadn't been one before.
|
黑人电影创造了一个
从来没有过的战士阶级
|
|
1:21:38
|
Black audiences no longer had to sift through stories to find subtext
|
黑人观众不再需要筛选故事
来找到可以解释
|
|
1:21:42
|
that explained why Black characters hovered in the margins.
|
为什么黑人
只能是边缘小角色的潜台词
|
|
1:21:45
|
They now inhabited center frame by natural right.
|
他们现在有了天然的权力
站在镜头中央
|
|
1:21:48
|
And at a time when the only mainstream movie hero
|
当时在唯一主流电影的英雄
是邦德的时候
|
|
1:21:51
|
was Bond, James Bond,
|
当时在唯一主流电影的英雄
是邦德的时候 詹姆斯·邦德 在1973年
由罗杰·摩尔扮演的007
|
|
1:21:53
|
who, in 1973, saw Roger Moore's 007 go nose-to-false-nose
|
詹姆斯·邦德 在1973年
由罗杰·摩尔扮演的007 面对假面挑衅系列片第一个
|
|
1:21:58
|
with the series' first and, to date, only Black big bad,
|
面对假面挑衅系列片第一个 也是目前为止唯一一个
由黑人亚菲特·库托扮演的大反派
|
|
1:22:02
|
played by Yaphet Kotto,
|
也是目前为止唯一一个
由黑人亚菲特·库托扮演的大反派
|
|
1:22:04
|
in this ever-changing world in which Bond lived.
|
就在邦德生活的
这个千变万化的世界里
|
|
1:22:09
|
Quite revealing.
|
揭露得真好
|
|
1:22:12
|
[Mitchell] Black movies were portraying the dilemmas of the inner city,
|
黑人电影描绘了内城的两难处境
|
|
1:22:15
|
the ravages of crime, and the drug war.
|
犯罪的肆虐和毒品战争
|
|
1:22:18
|
Only, in these films, African-American leads were fighting back.
|
只有在这些电影里
非裔美国人主演在回击
|
|
1:22:22
|
It was understood that cops wouldn't help.
|
影片中人们知道 警察不会帮忙
|
|
1:22:24
|
They were often as indifferent as they were corrupt.
|
他们经常既腐败又冷漠
|
|
1:22:27
|
Jim Brown reprised Slaughter, his verb-as-surname character,
|
在《大屠杀》中 吉姆·布朗
重奏了斯劳特 这个人物的名字
|
|
1:22:30
|
in Slaughter's Big Rip-Off,
|
有大屠杀的意思
|
|
1:22:32
|
complemented by the singular two-fisted funk
|
由早期詹姆斯·布朗配乐的
|
|
1:22:35
|
of an early James Brown score.
|
强劲放克完成
|
|
1:22:38
|
In Hit!, Billy Dee Williams was a CIA agent
|
在《打击！》中
比利·迪·威廉姆斯是中情局特工
|
|
1:22:41
|
who recruits an unlikely group of walking wounded
|
他在与国际毒贩的个人对抗中
|
|
1:22:44
|
in his personal fight against international drug dealers.
|
雇佣了一群不可思议的
受伤却活着的人
|
|
1:22:47
|
He lost his daughter to drugs.
|
他因为毒品失去了女儿
|
|
1:22:48
|
What's it gonna do for you to kill me, man?
|
你要杀我有什么用？
|
|
1:22:52
|
I'm just a worker.
|
我只是个打工的
|
|
1:22:53
|
It really required a kind of a… a mentality
|
这真的需要一种
|
|
1:22:58
|
that he was capable of using whatever, uh, he needed to use
|
他能够用他需要的一切
|
|
1:23:03
|
in order to accomplish his mission.
|
来完成任务的心态
|
|
1:23:09
|
That's very interesting.
|
这很有意思
|
|
1:23:11
|
And, in a way that, for… uh, little brown-skinned boys like me
|
而且在某种程度上
像我一样的棕色皮肤的小男孩
|
|
1:23:16
|
never had the opportunity to do that kind of stuff.
|
永远没有机会去做那种事
|
|
1:23:20
|
And the fact that Sidney wanted me to play that character,
|
西德尼 想让我扮演那个角色
|
|
1:23:22
|
felt I was right for that character,
|
觉得我很适合那个角色
|
|
1:23:24
|
I tried to use it in the best way that I could.
|
我尽量用了最好的方式去演
|
|
1:23:28
|
Again, it was an opportunity
|
再说一次 这是一个机会
|
|
1:23:30
|
to show a side that you normally would not see on-screen.
|
展示你通常无法在银幕上看到的一面
|
|
1:23:34
|
I think that adds to the vulnerability. I was thinking about vulnerability.
|
我觉得这增加了脆弱 我在想脆弱
|
|
1:23:38
|
It makes the character a little bit more than just a ruthless kind of individual.
|
让这个角色变得更丰富一点
不只是残忍
|
|
1:23:46
|
[Mitchell] Gordon's War featured a group of Black Vietnam vets
|
《黑旋风挑战黑霸王》中
有一群越南黑人兽医
|
|
1:23:49
|
using their skills to return fire against drug dealers.
|
用他们的技能对毒贩反击
|
|
1:23:53
|
It featured a couple of startlingly original visual high points
|
里面创造了几个惊人的原创视觉镜头
|
|
1:23:56
|
that have been quoted in films ever since.
|
在后来的电影中不断被引用
|
|
1:23:59
|
New Jack City, to name just one,
|
举个例子《新杰克城》
|
|
1:24:01
|
scored by Angelo Badalamenti, who would later work with David Lynch.
|
配乐由后来与大卫·林奇合作的
安吉洛·巴达拉曼蒂制作
|
|
1:24:06
|
Got a light?
|
有火吗？
|
|
1:24:07
|
This MacGyver-like action moment with an aerosol can,
|
这种拿着喷雾器罐的麦吉弗式
动作场面
|
|
1:24:10
|
which could be seen as a metaphor for its environmental danger,
|
可以被视为对环境危险的隐喻
|
|
1:24:13
|
has made its way into innumerable action films.
|
已经在无数动作片中出现
|
|
1:24:20
|
[Mitchell] Audiences of all colors came out to see these movies
|
各种肤色的观众都来看这些电影
|
|
1:24:22
|
because they could feel the adrenaline in the actors,
|
因为他们能感受到
演员体内的肾上腺素
|
|
1:24:25
|
many of whom came from the stage, and those actors' exhilaration in working.
|
他们中的许多人来自舞台
那些演员在工作中很兴奋
|
|
1:24:30
|
-[upbeat funk music playing] -Second runner-up, Pretty Tony!
|
第二名 漂亮托尼！
|
|
1:24:33
|
[Mitchell] In The Mack, for example, Dick Anthony Williams as Pretty Tony
|
例如在《麦克》中
迪克·安东尼·威廉姆斯演漂亮托尼
|
|
1:24:37
|
is as compelling as any figure in a '30s gangster movie.
|
与30年代黑帮电影中的任何人物一样
引人注目
|
|
1:24:40
|
He told me his improvisations came out of wanting to portray
|
他告诉我 他的即兴创作
来源于想要塑造一个
|
|
1:24:43
|
an inner-city version of Edward G. Robinson
|
内城版的爱德华·罗宾逊
|
|
1:24:46
|
brought up-to-date with turns of phrases he heard growing up.
|
他把自己成长过程中
听到的各种短语不断更新
|
|
1:24:50
|
Nigga, next time you hear grown folks talkin',
|
黑鬼 下次你再听到大人说话
|
|
1:24:54
|
shut the fuck up. Hear?
|
闭上嘴 听到了吗？
|
|
1:24:55
|
[Mitchell] The impact of that kind of concise hypermasculinity
|
那种简洁的超级男子气概的影响
在几十年后依然存在
|
|
1:24:58
|
would be felt decades later, in lines that seem to be written for Black actors,
|
那些台词似乎是为黑人演员写的
|
|
1:25:02
|
if not spoken by them.
|
即便不是由他们说的
|
|
1:25:04
|
-Want me to shoot this guy? -Shit.
|
-要我开枪打这人吗？
-靠
|
|
1:25:07
|
You shoot me in a dream, you better wake up and apologize.
|
你在梦里开枪打我
你最好醒过来道歉
|
|
1:25:14
|
[Mitchell] There was a more specific realization
|
对爱德华·罗宾逊出演《黑色凯撒》
|
|
1:25:16
|
of Edward G. Robinson to come in Black Caesar.
|
有更具体的认识
|
|
1:25:18
|
They never look at me. They never look at my face, my nose, my lame foot.
|
他们从来不看我 他们从不看我的脸
我的鼻子、我的瘸腿
|
|
1:25:23
|
All they know is that I'm Black.
|
他们只知道我是黑人
|
|
1:25:26
|
[Mitchell] Imagine if the man who inspired Cohen to write Black Caesar,
|
想象一下 如果启发科恩创作
《黑色凯撒》的人小萨米·戴维斯
|
|
1:25:29
|
Sammy Davis Jr., got to star in the work he set into motion,
|
想象一下 如果启发科恩创作
《黑色凯撒》的人小萨米·戴维斯 在他着手创作的作品中担任主角
|
|
1:25:33
|
but Cohen ended up with Fred Williamson as Black Caesar.
|
但科恩最终
让弗雷德·威廉姆森饰演黑色凯撒
|
|
1:25:36
|
When he asked the studio head to account for the size difference
|
当他要求电影公司负责人
解释威廉姆森
|
|
1:25:39
|
between Williamson and Davis,
|
和戴维斯的体型差异时
|
|
1:25:41
|
the studio head thought for a moment and said,
|
电影公司负责人想了一会儿说
|
|
1:25:44
|
"Give Fred a limp."
|
“让弗雷德瘸腿吧”
|
|
1:25:50
|
A 1973 concert documentary, Save the Children,
|
1973年的音乐会纪录片《拯救儿童》
|
|
1:25:53
|
filmed at the 1972 Operation PUSH rally,
|
拍摄于1972年的“推动行动”集会
|
|
1:25:57
|
had appearances that ranged from Jesse Jackson to The Jackson 5,
|
其中出现了
从杰西·杰克逊到杰克逊五兄弟
|
|
1:26:01
|
from Nancy Wilson to Zulema,
|
从南希·威尔逊到祖利玛
|
|
1:26:05
|
and put music and progressive politics together.
|
把音乐和进步政治结合在一起
|
|
1:26:07
|
It was a massive enterprise to assemble.
|
这是一项浩大的工程
|
|
1:26:12
|
We started with the Motown acts. So once we'd booked Marvin Gaye,
|
我们从摩城乐队开始
所以一旦我们预定了马文·盖伊
|
|
1:26:17
|
Temptations,
|
诱惑合唱团
|
|
1:26:18
|
Gladys Knight & the Pips, you know, folks like that,
|
葛蕾蒂丝·奈特与种子合唱团
像这样的人们
|
|
1:26:20
|
it started to be this thing about people wanted to do it.
|
这件事就成为了人们想要参与的事件
|
|
1:26:23
|
And then, Clarence had a record company, so he got Bill Withers and Nancy Wilson
|
后来 克拉伦斯开了一家唱片公司
他请来比尔·威瑟斯和南希·威尔逊
|
|
1:26:28
|
and Sammy Davis Jr.
|
还有小萨米·戴维斯
|
|
1:26:30
|
Quincy was already involved so he got Roberta Flack,
|
昆西已经参与了
所以他找来了罗伯塔·弗莱克
|
|
1:26:33
|
and he put together a house band that was an all-star band.
|
他组建了一个全明星乐队
|
|
1:26:38
|
And so this thing sort of turned into this amazing gathering
|
所以这件事 在某种程度上变成了
|
|
1:26:42
|
of some of the best musicians that were available at that time.
|
当时一些最好的音乐家的聚会
|
|
1:26:46
|
It was big. It was huge.
|
这件事很大 非常巨大
|
|
1:26:48
|
And it was a… a huge success,
|
这是一次巨大的成功
|
|
1:26:50
|
'cause all of those musicians brought their best game.
|
因为所有那些音乐人
都在他们事业的巅峰期
|
|
1:27:02
|
It got to a point where the level of artistry was off the roof. It was crazy.
|
我们的艺术水平达到了
精彩绝伦的地步 这是不可思议的
|
|
1:27:09
|
[Mitchell] Black female characters determined to be recognized
|
黑人女性角色决心获得认可
|
|
1:27:12
|
not merely because of their proximity to a man.
|
不仅仅是因为她们接近男性
|
|
1:27:15
|
No longer compliant arm candy,
|
不再做顺从的性伴侣
|
|
1:27:18
|
they also threw down against a battalion of stuntmen.
|
他们还和一队特技演员进行了对打
|
|
1:27:21
|
It was the final frontier for Black actresses
|
这是黑人女演员的最后的边界
|
|
1:27:24
|
and established a definition of heroism
|
确立了英雄主义的定义
|
|
1:27:27
|
that allowed for directness rather than martyrdom.
|
允许坦率而不是牺牲
|
|
1:27:30
|
Before this, movies often conflated Black femininity
|
在此之前
电影常常将黑人女性特质
|
|
1:27:33
|
with romanticized masochism.
|
与浪漫化的受虐狂混为一谈
|
|
1:27:36
|
What audiences were getting was something entirely new.
|
但现在观众们看到的是全新的东西
|
|
1:27:40
|
Black films are just, like… It's an evolution.
|
黑人电影就像…是一次进化
|
|
1:27:42
|
It's not something that's gonna come and pop automatically,
|
那不是会自动突然出现的
|
|
1:27:45
|
and everything will happen immediately because nothing happens that way,
|
所有的事都会立即发生
因为没有事是那样发生的
|
|
1:27:48
|
and things will take time. Progress has to be a slow thing
|
事情发生都会有时间
进步一定是个缓慢的过程
|
|
1:27:52
|
in order for it to be definite, you know, and beneficial, I think,
|
为了让它更永久和有益 我认为
|
|
1:27:55
|
so it's gonna take a little while.
|
所以还是要花点时间
|
|
1:27:56
|
There's so many different areas that haven't been… been realized yet
|
就黑人演员而言
还有很多不同的领域
|
|
1:28:00
|
as far as Black actors are concerned.
|
还没有被实现
|
|
1:28:02
|
And, uh, it's all new to me. I'm… I'm a new actress, as you know,
|
这对我来说是全新的
我是个新演员 你知道的
|
|
1:28:07
|
and, uh, I've just begun to work,
|
我才刚刚开始工作
|
|
1:28:10
|
and there's so many areas of work I haven't touched yet.
|
还有很多工作领域我还没有接触到
|
|
1:28:12
|
I have a lot more training that I have to get
|
在我真正成为演员之前
|
|
1:28:14
|
before I can really call myself an actress.
|
我还有很多训练要做
|
|
1:28:17
|
[Mitchell] Laurence Olivier once said,
|
（劳伦斯·奥利弗 演员）
|
|
1:28:19
|
"When you're young, you're too bashful to play a hero."
|
“你年轻的时候
太害羞了 不敢做英雄”
|
|
1:28:22
|
"You debunk it." "It's only when you're older
|
“你批判一切 只有当你长大了
|
|
1:28:25
|
that you understand the pictorial beauty of heroism."
|
才会明白英雄主义的形象之美”
|
|
1:28:28
|
Black actors not only understood that beauty, they embraced it
|
黑人演员不仅理解这种美
而且欣然接受
|
|
1:28:32
|
because of the communal thirst we had for heroes.
|
因为我们对英雄的渴望
|
|
1:28:35
|
America, in the throes of uncertainty, embraced those Black heroes
|
在不确定的痛苦中挣扎的美国
拥抱了那些黑人英雄
|
|
1:28:39
|
who were played onto the screens with dynamic and celebratory music scores.
|
他们在充满活力的庆祝音乐中
出现在屏幕上
|
|
1:28:44
|
Remember, it was Shaft that saved MGM from bankruptcy.
|
记住 是《黑街神探》
让米高梅影业免于破产
|
|
1:28:47
|
And the newest arrival to this extraordinary league
|
最新来的非同寻常的一群
|
|
1:28:51
|
that redefined accomplishment and glory in the movies was Pam Grier.
|
在电影里重新定义了成就和光荣的人
是帕姆·格里尔
|
|
1:28:55
|
From 1970 until 1973, she appeared in seven films,
|
从1970 年到1973年
她出演了七部电影
|
|
1:29:00
|
with each role giving her more screen time.
|
每一个角色都给了她更多
在银幕上的时间
|
|
1:29:02
|
A 1970s Esquire magazine article
|
20世纪70年代《时尚先生》杂志的
一篇文章
|
|
1:29:05
|
on rising stars that would go on to change the movies,
|
那些会改变电影的新星
|
|
1:29:09
|
a group that included Steven Spielberg, who was just finishing Jaws,
|
这群人包括刚刚拍完《大白鲨》的
斯蒂芬·斯皮尔伯格
|
|
1:29:12
|
and George Lucas, fighting to start something called The Star Wars,
|
还有乔治·卢卡斯努力开始拍一部
叫《星球大战》的电影
|
|
1:29:16
|
Pam Grier was one of the few actors mentioned,
|
帕姆·格里尔是所提到的
为数不多的演员之一 对她的描述是
|
|
1:29:18
|
described as, "One of three actresses whose movies consistently make money."
|
帕姆·格里尔是所提到的
为数不多的演员之一 对她的描述是 “所拍电影一直以来都在赚钱的
三位女演员之一”
|
|
1:29:22
|
"The other two are named Barbra and Liza."
|
“另外两个叫芭芭拉和莉莎”
|
|
1:29:25
|
Grier said, "I'm the only lady in movies nowadays who isn't a victim."
|
格里尔说：“我是唯一一个
在现在电影里不是受害者的女性”
|
|
1:29:29
|
"Determination was key working roles such as a half-panther madwoman,"
|
“决心是演角色的关键
比如离异的疯女人”
|
|
1:29:33
|
as the article says.
|
那篇文章如是说
|
|
1:29:35
|
In '73, she was also in Scream Blacula Scream…
|
在73年 她还出演了《吸血黑王子》…
|
|
1:29:37
|
Now, with such a lovely guide,
|
现在有了这么可爱的引导
|
|
1:29:40
|
I'm afraid I'd lose my concentration on the artwork.
|
我担心我会失去对作品的专注
|
|
1:29:44
|
How about that?
|
怎么样？
|
|
1:29:46
|
[Mitchell] …and Black Mama White Mama.
|
…还有《被束缚的女人》
|
|
1:29:48
|
You can stick that up your ass. Now, let's go!
|
去死吧 现在走吧！
|
|
1:29:56
|
[Mitchell] But it was in Coffy that she proved herself a movie star.
|
但她在《科菲》里证明了
自己是电影明星
|
|
1:29:59
|
Toni Morrison once told me, "It was a dismissal
|
托尼·莫里森曾经告诉我：
“称呼格里尔的角色
|
|
1:30:02
|
to call Grier's characters, such as Coffy, 'a badass.'"
|
比如称呼科菲为‘坏蛋’
是一种打发”
|
|
1:30:05
|
"It diminished her as an actress."
|
“这让她失去了演员的身份”
|
|
1:30:07
|
And more importantly, she thought Grier's performance
|
更重要的是 她认为格里尔的表演
|
|
1:30:10
|
dealt with the moral complexities demanded of Black women.
|
满足了对黑人女性的道德要求
|
|
1:30:13
|
The toll of maintaining her equilibrium
|
一边把用自己的方式惩罚犯罪
|
|
1:30:16
|
while taking the law into her own hands and dealing with betrayal
|
一边接受背叛 维持平衡的代价
|
|
1:30:19
|
showed in her performance as she avenges her sister's death,
|
在她为姐姐的死报仇的表演中展现
|
|
1:30:22
|
a metaphor for Black women juggling roles
|
这是黑人女性杂耍角色的暗喻
|
|
1:30:25
|
such as protectors and nurturers simultaneously.
|
比如同时是保护者和养育者
|
|
1:30:28
|
-Now, come on. -[woman] Howie, what are you doing?
|
-现在 来吧
-霍华德 你在做什么？
|
|
1:30:31
|
Come back to bed--
|
回来睡吧…
|
|
1:30:36
|
Coffy, baby. You gotta understand. I… I thought you were dead!
|
科菲 宝贝 你必须明白
我以为你死了！
|
|
1:30:42
|
[Mitchell] But often, and finally, alone.
|
但经常 并且最终还是独自一个人
|
|
1:30:45
|
Still, moving on. Hopefully, towards community.
|
但生活还要继续
希望能生活在可以融入的地方
|
|
1:30:48
|
She'd be an archangel
|
她会是一个大天使
|
|
1:30:50
|
delivering her people from the end of the world.
|
从世界的尽头拯救她的人民
|
|
1:30:52
|
Always around the corner for African Americans.
|
随时准备好帮助非裔美国人
|
|
1:30:55
|
Coffy allows Grier a final moment of respite
|
科菲让格里尔在恰当风景的新视角中
|
|
1:30:58
|
in a new version of a picture-postcard shot.
|
能够有喘息的时间
|
|
1:31:02
|
In 1973, we were in the midst of botched opportunities,
|
在1973年 我们处于被浪费的机会中
|
|
1:31:06
|
such as Shaft in Africa, and responses to Black action films,
|
比如《非洲怒豹》
以及对黑人动作片的回应
|
|
1:31:10
|
such as the adaptation of the play Five on the Black Hand Side,
|
比如《黑人击掌》的改编
|
|
1:31:13
|
which starred a young Glynn Turman.
|
由年轻的葛林·托曼主演
|
|
1:31:15
|
What does that feel like?
|
那是什么感觉？
|
|
1:31:18
|
Feels like a lifetime ago, tell you the truth.
|
感觉像是上辈子的事了 说真的
|
|
1:31:21
|
It's amazing that all of that was happening then,
|
那时发生了一切 很美妙
|
|
1:31:27
|
and, uh, that I got to work with such wonderful, wonderful, iconic people,
|
我可以和如此完美、标志性的人共事
|
|
1:31:33
|
you know.
|
你知道
|
|
1:31:35
|
And it, uh…
|
而且…
|
|
1:31:37
|
It's a history, man, that…
|
这是个历史 兄弟…
|
|
1:31:41
|
You don't go into it thinking that it's going to have any import.
|
你不会去想这会有什么意义
|
|
1:31:46
|
It was just, like, uh,
|
只是为了…
|
|
1:31:48
|
survival.
|
生存
|
|
1:31:50
|
You're young.
|
你还年轻
|
|
1:31:52
|
You know, you're trying to get started in the business.
|
你想开始做生意
|
|
1:31:54
|
You're trying to put your foot down
|
你想构建自己
|
|
1:31:56
|
and make a mark for yourself in the business.
|
让你在商业界获得认可
|
|
1:31:59
|
[Mitchell] There also came a film that was like the answer to a riddle.
|
还有一部电影 那就像是谜语的答案
|
|
1:32:03
|
What would you get if you gave the star
|
如果你给了可怕的
|
|
1:32:05
|
of a terrible and ghastly World War II sitcom
|
二战喜剧明星
|
|
1:32:08
|
and the editor of that show a chance to make a movie?
|
以及这节目的编剧
一个机会拍电影 你会得到什么？
|
|
1:32:10
|
Ivan Dixon, who quit Hogan's Heroes, and Michael Kahn, that show's editor,
|
伊万·迪克森退出了《霍根英雄》
他和迈克尔·卡恩 那个节目的编剧
|
|
1:32:15
|
first worked together on Trouble Man.
|
首次在《检修员》合作
|
|
1:32:17
|
But Dixon's dream project was an adaptation
|
但迪克森的梦想项目是改编
|
|
1:32:19
|
of Sam Greenlee's agitprop satiric novel, The Spook Who Sat by the Door,
|
萨姆·格林利的讽刺小说
《坐在门口的幽灵》
|
|
1:32:24
|
in which a Black man, recruited by the CIA,
|
在这里一名中情局招募的黑人
|
|
1:32:27
|
takes the agency's tactics to the streets and creates a revolution.
|
把当局的策略带到街头
创造了一次革命
|
|
1:32:31
|
Dixon's years of struggle to get this project completed
|
迪克森多年努力来让这个项目完成
这个过程
|
|
1:32:34
|
could be a movie.
|
都够拍一部电影了
|
|
1:32:36
|
Finally raising the money to make half the movie
|
终于筹了钱来拍了一半的电影
|
|
1:32:38
|
and showing action sequences to get studio interest,
|
展示动作顺序来得到电影公司的兴趣
|
|
1:32:41
|
a bidding war, won by United Artists, got him the other half.
|
联美影业赢得了竞标大战
让他拍了另一半
|
|
1:32:46
|
According to Dixon, the studio was appalled by a film
|
根据迪克森所说
电影公司被一部电影吓到了
|
|
1:32:49
|
they feared might cause actual riots and lawsuits
|
他们害怕可能引起真的暴动和诉讼
|
|
1:32:52
|
instead of a riot at the box office.
|
而不是有很多人去看电影
|
|
1:32:55
|
It included a line that I thought belonged in the annals of film history,
|
上面写了一句
我认为是电影史的记录
|
|
1:32:58
|
alongside "an offer he couldn't refuse."
|
以及“我要让他不能拒绝”
|
|
1:33:02
|
[man] Remember,
|
记住
|
|
1:33:04
|
a Black man with a mop, tray, or broom in his hand
|
手里拿着拖把、盘子或者扫帚的黑人
|
|
1:33:07
|
can go damn near anywhere in this country.
|
可以到这个国家的任何地方
|
|
1:33:10
|
And a smiling Black man
|
一个微笑的黑人
|
|
1:33:12
|
is invisible.
|
是不会被注意的
|
|
1:33:13
|
[Mitchell] This line brought down the house when I saw the movie in Detroit in 1973,
|
当我在1973年在底特律看这部电影时
这句话引起了掌声和欢呼
|
|
1:33:18
|
and it continues to set off fireworks and inspiration decades later.
|
而且在几十年后持续引起了强烈反响
|
|
1:33:22
|
[Nipsey Hussle] I'mma name my last album The Spook That Sat by the Door.
|
我要把最后一张专辑的名字
叫做《坐在门口的幽灵》
|
|
1:33:25
|
Basically, he used their agenda,
|
他基本上用了他们的计划
|
|
1:33:26
|
which was to have a token nigga in the CIA for political reasons.
|
因为政治原因
在中央情报局有一个黑人
|
|
1:33:30
|
-You know, we gonna speak blunt. Fuck it. -[woman] Right.
|
-我们要坦诚…
-好 …来讲 该死
|
|
1:33:32
|
Um, he used it against 'em.
|
他用它来对付他们
|
|
1:33:36
|
[Mitchell] Dixon told me that when Spook ended its theatrical run,
|
迪克森告诉我《坐在门口的幽灵》
下映的时候
|
|
1:33:40
|
United Artists called him in for a meeting and told him
|
联美公司叫他去开会 告诉他
|
|
1:33:42
|
the movie was being tracked by US Intelligence,
|
电影被美国情报局追踪
|
|
1:33:45
|
which means there's a photo of me
|
也就是说有我
|
|
1:33:47
|
and my high-school friends somewhere in Langley.
|
和我在兰利的高中朋友的一张照片
|
|
1:33:50
|
This movie created such a furor
|
这部电影创造了一场狂欢
|
|
1:33:52
|
that Dixon felt his theatrical moviemaking career was finished.
|
让迪克森以为
他的戏剧电影制作生涯结束了
|
|
1:33:56
|
A film about insurrection was being treated
|
一部关于暴动的电影
|
|
1:33:59
|
as if it were the act itself.
|
被当作暴动本身
|
|
1:34:02
|
Don't quit
|
不要退出
|
|
1:34:04
|
until you either win,
|
除非你赢了
|
|
1:34:06
|
or you die.
|
或者死了
|
|
1:34:07
|
[Mitchell] The Spook Who Sat by the Door infused a genre film, the spy thriller,
|
《坐在门口的幽灵》以黑人视角
融入了类型片
|
|
1:34:12
|
with a Black perspective
|
间谍惊悚片
|
|
1:34:13
|
and forced audiences to reexamine how narrow that genre had been.
|
让观众重新评估体裁之前多有限
|
|
1:34:18
|
Ganja & Hess finds visuals, either poetic or realistic and harsh,
|
《吉娜与汉斯》找到了视觉效果
不论诗意或现实、严酷的
|
|
1:34:23
|
to keep its emotional fluidity constant.
|
来保持情绪的流动性
|
|
1:34:25
|
-[unsettling music playing] -[screams]
|
（《吉娜与汉斯》1973年
导演：比尔·冈恩）
|
|
1:34:31
|
[Mitchell] Duane Jones, steely and determined
|
杜安·琼斯作为
|
|
1:34:33
|
as the monster killer in Night of the Living Dead,
|
《活死人之夜》中的怪物杀手
非常坚韧而坚定
|
|
1:34:36
|
is cast as the monster here, and his resolve to keep his soul alive
|
他是这里的怪物
当电影从梦境变成血腥的现实时
|
|
1:34:40
|
as the movie shifts from dreamscape to bloody reality
|
他决心要让灵魂活着
|
|
1:34:44
|
became a metaphor for the life of Bill Gunn,
|
这成了比尔·冈恩人生的暗喻
|
|
1:34:46
|
the film's writer, director, and costar.
|
他是电影的编剧、导演和联合主演
|
|
1:34:49
|
Real-life horror played out for Gunn,
|
现实生活中的恐怖发生在了冈恩身上
|
|
1:34:51
|
who witnessed his triumph edited into different versions,
|
他目睹了自己的成功
被编辑成了不同的版本
|
|
1:34:54
|
each badly titled recut worse than the previous one,
|
每次都被改头换面 比前一个更糟
|
|
1:34:58
|
transforming his art into something monstrous.
|
把他的艺术变成了可怕的东西
|
|
1:35:02
|
Gunn fought to work in the movies
|
冈恩在他导演的《停止》首映之后
|
|
1:35:04
|
even after his directorial debut titled Stop!
|
依然奋斗于在电影行业工作
|
|
1:35:08
|
Ishmael Reed writes,
|
伊希梅尔·里德写道
|
|
1:35:09
|
"Warner Bros. was so upset with Stop! that it buried the film
|
“华纳兄弟对《停止》非常失望！
这掩埋了电影
|
|
1:35:13
|
and got Gunn to return his writing and directing fees."
|
让冈恩返还他的编剧和导演费”
|
|
1:35:19
|
1974 was another seismic movement of the needle for Black film.
|
1974年是黑色电影的又一次大转变
|
|
1:35:24
|
[men] The Black 6.
|
（《黑色六人组》）
|
|
1:35:29
|
[Mitchell] A jolt courtesy of Diahann Carroll
|
承蒙迪亚恩·卡罗尔的震撼允许
|
|
1:35:31
|
as a weary but determined mother of six in Claudine.
|
（《克劳汀》1974年
导演：约翰·贝瑞）
|
|
1:35:34
|
[woman on phone] Sorry, that number's been disconnected. "Disconnected"?!
|
-抱歉 号码已断线
-“断线”？！
|
|
1:35:39
|
[Mitchell] Diahann Carroll, whose beauty was deepened by a core of calm,
|
迪亚恩·卡罗尔因为她的冷静
美丽得更吸引人
|
|
1:35:43
|
was one of those who seized the opportunity to be free
|
是抓住机会摆脱掉
|
|
1:35:46
|
of her civilized smoothness.
|
八面玲珑文明特性的人之一
|
|
1:35:48
|
Please, Francis! Don't do that! You'll electrocute yourself!
|
求你了 弗朗西斯！别这样！
你会电死自己！
|
|
1:35:52
|
[Mitchell] As the titular character in this drama, Claudine fought the welfare system
|
作为这部剧命名的人
克劳汀与福利体系
|
|
1:35:56
|
and the streets of Chicago for the souls of her children.
|
和芝加哥街头作斗争
就是为了她孩子们的灵魂
|
|
1:35:59
|
And she won, in that her kids were still alive at the end.
|
她赢了 因为她的孩子们最后还活着
|
|
1:36:03
|
For her efforts, Carroll got a Best Actress Oscar nomination.
|
因为她的努力 卡罗尔获得了
奥斯卡最佳女主角提名
|
|
1:36:07
|
Claudine also benefited from being one of the five scores that Curtis Mayfield wrote.
|
克劳汀也从柯蒂斯·梅菲尔德所写的
五首配乐之一中获益了
|
|
1:36:11
|
It was a song cycle in which all the songs came
|
那是一首里面循环了所有歌的歌
|
|
1:36:14
|
from the perspectives of the characters, sung by Gladys Knight & the Pips.
|
都是从角色的角度来看的 由葛蕾
蒂丝·奈特与种子合唱团演唱
|
|
1:36:18
|
Including one that, in the song,
|
歌里的其中一个角度
|
|
1:36:20
|
precisely outlined a centuries-old fear faced by people of color.
|
准确描述了有色人种
几百年来面临的恐惧
|
|
1:36:25
|
♪ To be invisible ♪
|
成为隐形人
|
|
1:36:28
|
♪ Will be my claim to fame ♪
|
这将是我的名声所在
|
|
1:36:32
|
♪ A girl with no name ♪
|
一个没有名字的女孩
|
|
1:36:34
|
I actually was cast in Claudine
|
其实当戴安娜·桑兹被选
来演《克劳汀》的时候
|
|
1:36:37
|
when Diana Sands was cast to play Claudine.
|
我要出演《克劳汀》
|
|
1:36:41
|
And then she passed away.
|
然后她去世了
|
|
1:36:44
|
And so they, you know… they reshuffled the deck, and they found another bunch of actors.
|
于是他们改变计划了
又找了一堆演员
|
|
1:36:49
|
I mean, they had…
|
我是说 他们有…
|
|
1:36:50
|
I had auditioned, uh,
|
我为第二小的儿子
|
|
1:36:53
|
for the second-youngest son,
|
试镜了
|
|
1:36:55
|
but I wound up not being cast in it after that.
|
但我最后没能安排出演
|
|
1:36:58
|
You know, they… they recast it.
|
你知道 他们把它给了新演员
|
|
1:37:01
|
[Mitchell] An intriguing piece of editorial in action-leather camouflage
|
一个伪装便宜的有趣改编
|
|
1:37:05
|
was Three the Hard Way, which teamed Jim Brown
|
是《三难的道路》
里面有吉姆·布朗
|
|
1:37:09
|
and Fred Williamson
|
弗雷德·威廉姆森
|
|
1:37:10
|
with martial artist Jim Kelly's Afro.
|
还有武术家吉姆·凯利的发型
|
|
1:37:13
|
Three cities and three of us.
|
三个城市 我们三个人
|
|
1:37:15
|
[Mitchell] They take on a neo-Nazi organization,
|
他们要对抗一个新纳粹组织
|
|
1:37:17
|
which develops a poison that only kills African Americans
|
会产生一种只会杀死
非裔美国人的毒药
|
|
1:37:21
|
and will be dumped into the water supplies of LA, Detroit, and Washington, D.C.,
|
会被投进洛杉矶、底特律
和华盛顿的水域
|
|
1:37:26
|
all of which look suspiciously like Los Angeles.
|
所有这些看起来都很可疑地像洛杉矶
|
|
1:37:29
|
I thought it was the most laughable thing I'd ever seen
|
我以为这是我见过最可笑的东西
|
|
1:37:32
|
until my father explained the Tuskegee Experiment to me,
|
直到我父亲向我解释了塔斯基吉实验
|
|
1:37:35
|
and Three the Hard Way was suddenly a meditation on justifiable paranoia,
|
《三难的道路》突然表达了
合理的偏执
|
|
1:37:40
|
the scientific term for which is "African American," I believe.
|
我相信科学术语是“非裔美国人”
|
|
1:37:45
|
1974 follows that film with a heartbreaking footnote,
|
1974年那部电影之后
依然是心碎的小人物
|
|
1:37:49
|
one of the final film performances of Diana Sands.
|
是戴安娜·桑兹最后的一些电影表演
|
|
1:37:52
|
Honeybaby, Honeybaby was a messy cocktail with a splash of spy caper,
|
《亲爱的宝贝》混杂着间谍活动
|
|
1:37:57
|
a twist of action melodrama, a zest of character comedy,
|
动作剧的歪曲 人物喜剧的兴趣
|
|
1:38:00
|
and so insecure it begins with the movie describing itself to you.
|
非常不安
电影开头就开始给你描述内容
|
|
1:38:05
|
Hey, how you doin'?
|
嘿 你好吗？
|
|
1:38:07
|
My name is J. Eric Bell, and I just got back from Beirut, Lebanon,
|
我叫J·艾瑞克·贝尔
我刚从黎巴嫩的贝鲁特回来
|
|
1:38:11
|
while filming a movie, Honeybaby, Honeybaby, on location.
|
在拍电影《亲爱的宝贝》
出外景的时候
|
|
1:38:15
|
[Mitchell] '74 was bookended with Sands.
|
74年开头和结尾都是桑兹
|
|
1:38:18
|
Another of her last film appearances is in Willie Dynamite,
|
她最后几部电影中的另一个是
《威利·迪纳米特》
|
|
1:38:21
|
which starred stage actor Roscoe Orman, who is now better known for another role.
|
主演是舞台剧演员罗斯科·奥曼
现在他的另一个角色更为人所知
|
|
1:38:27
|
[Orman] I used to joke when Willie finally left after that last scene,
|
我以前常在威利的最后一个镜头
终于离开之后开玩笑
|
|
1:38:30
|
he turned the corner, and there was this big yellow bird on the street.
|
他转向角落
街上有一只芝麻街大黄鸟
|
|
1:38:37
|
But it was true.
|
但那是真的
|
|
1:38:38
|
I mean, within… within that year following Willie Dynamite,
|
我是说 那一年里
在《威利·迪纳米特》之后
|
|
1:38:41
|
there I was as Gordon on Sesame Street.
|
我就是芝麻街上的戈登
|
|
1:38:47
|
Looking for work?
|
找工作？
|
|
1:38:50
|
[Mitchell] The light in Orman's eyes, as Willie Dynamite,
|
奥曼作为威利·迪纳米特
眼睛里的光
|
|
1:38:52
|
signaled his eagerness to work with an acting partner
|
代表了他想和一位坚韧美丽
和他的冷血机智匹配的演员搭档
|
|
1:38:55
|
whose radiant toughness matched up with his coldhearted savvy.
|
共事的渴望
|
|
1:38:59
|
[Orman] I had the incredible good fortune of working with,
|
我有幸跟有史以来
|
|
1:39:03
|
you know, one of the great actors of all time.
|
最伟大的一位演员合作
|
|
1:39:05
|
Diana, she was so well-grounded and educated
|
戴安娜 她很有学识 在表演艺术方面
|
|
1:39:10
|
in terms of the art of… of, uh, performance, you know, and, uh…
|
受到了良好的教育 你知道…
|
|
1:39:15
|
Of course she and Lorraine Hansberry were close friends,
|
当然 她和洛林·汉斯伯里是好朋友
|
|
1:39:18
|
and Sidney and Ruby and Ossie and all of 'em, you know.
|
还有西德尼、鲁比、奥西他们
|
|
1:39:22
|
I mean, these were all my mentors as well.
|
那些也都是我的导师
|
|
1:39:27
|
Willie was a performer, and those courthouse steps,
|
威利是个表演者 那些法院的台阶
|
|
1:39:30
|
you know, that was like Baryshnikov.
|
就像巴雷什尼科夫一样
|
|
1:39:32
|
Platform shoes, high-heeled platform shoe--
|
厚底鞋 高跟厚底鞋…
|
|
1:39:38
|
I'd probably break every bone in my body now.
|
我现在可能就得把骨头扭断了
|
|
1:39:43
|
[Mitchell] Three the Hard Way director Gordon Parks Jr.
|
《三难的道路》的导演
小戈登·帕克斯
|
|
1:39:46
|
had another film that year, Thomasine & Bushrod,
|
在那一年还有一部电影
《托马森和布什罗德》
|
|
1:39:49
|
an Afrocentric and bucolic Western
|
一部以非洲为中心的田园西部片
|
|
1:39:52
|
that braided a Black twist into Bonnie and Clyde with its pairing
|
是以黑人为中心的
《雌雄大盗》的变体 结合了
|
|
1:39:55
|
of two of the most beautiful people in the American West,
|
美国西部最美的两个人
|
|
1:39:58
|
Vonetta McGee and Max Julien, on the run.
|
在逃的
沃内塔·麦吉和马克斯·朱利安
|
|
1:40:01
|
Their scenes together toyed with a movie-star version
|
他们在一起的场景
玩弄了他们自己真实
|
|
1:40:04
|
of their own real-life chemistry.
|
生活互动的电影版本
|
|
1:40:06
|
How you doin', Mr. Bushrod?
|
你好吗 布什罗德先生？
|
|
1:40:09
|
I do fine, Thomasine. I do fine. I just never thought I'd see you again.
|
我很好 托马森
我只是没想到会再见到你
|
|
1:40:14
|
Here I am.
|
我来了
|
|
1:40:15
|
-[romantic music playing] -And you look good. Damn, you look good.
|
你看起来不错 该死 你看起来真不错
|
|
1:40:20
|
[Mitchell] It showcased the languorous, easy score by Arthur Lee
|
它展示了亚瑟·李的慵懒轻松配乐
|
|
1:40:23
|
and the script by its star, Max Julien.
|
和明星马克斯·朱利安的剧本
|
|
1:40:26
|
[Turman] Thomasine & Bushrod was so much fun. Uh…
|
《托马森和布什罗德》非常有趣
|
|
1:40:29
|
Max Julien was such a great guy
|
马克斯·朱利安这个人很棒
|
|
1:40:32
|
and such an innovative guy and a daring guy.
|
很勇于创新 是个大胆的人
|
|
1:40:34
|
He produced that movie. He wrote it, produced it, you know.
|
他制作了那部电影
是他写的、制作的 你知道
|
|
1:40:37
|
He was-- He called the shots.
|
他说了算
|
|
1:40:39
|
So, of all those motion pictures
|
所以在“剥削黑人”时期出现的
|
|
1:40:41
|
that came out of the "Black exploitation," quote, period,
|
所有那些动作画面
|
|
1:40:44
|
Max was one of the few Blacks who controlled his own product.
|
马克斯是掌控了自己作品的
少数黑人之一
|
|
1:40:49
|
I knew one thing. I knew that Max and Vonetta were revolutionary.
|
我知道一件事
我知道马克斯和沃内塔是革命性的
|
|
1:40:54
|
Max would just say, you know, "I'm not gonna take this shit."
|
马克斯会说：“我不会接这个烂片的”
|
|
1:40:58
|
And he didn't, you know, and, uh…
|
他也没有 你知道 然后…
|
|
1:41:01
|
"Let's do our own, man. We'll just do our own."
|
“我们自己来吧 我们自己做就好了”
|
|
1:41:06
|
[Mitchell] In the adaptation of the autobiographical book
|
在自传书的改编里
|
|
1:41:09
|
The Education of Sonny Carson,
|
《索尼·卡森的教育》
|
|
1:41:11
|
the young protagonist is subjected to extremes of Black masculinity,
|
年轻的主人公在一部
残酷与诗意之间的电影中
|
|
1:41:15
|
in a film that floats between the brutal and the poetic.
|
受到了黑人男子气概的极端影响
|
|
1:41:20
|
This time, director Michael Campus, who also made The Mack,
|
这一次 也执导了《老兄》
这部电影的迈克尔·坎普斯导演
|
|
1:41:23
|
tells a story about a Black hero
|
讲述了一个黑人英雄的故事
|
|
1:41:26
|
who can't outwit the prison-industrial complex
|
他斗不过监狱工业区的人
|
|
1:41:29
|
and is nearly suffocated by incarceration.
|
几乎被监禁到窒息了
|
|
1:41:32
|
For Sonny, the antidote is moving from one urban tribe to another
|
对索尼而言
对策是从一个都市部落换到另一个
|
|
1:41:36
|
to prove his worth.
|
来证明他自己
|
|
1:41:38
|
One of its most harrowing scenes shows the adolescent Sonny
|
其中最悲惨的一个场景
是青少年索尼
|
|
1:41:42
|
running the literal gauntlet to be jumped into a gang.
|
受夹道鞭笞的刑罚来加入帮派
|
|
1:41:50
|
You wanna deal with the Lords, you deal with us later, you understand?
|
你想跟领主帮打交道
那你待会再跟我们打交道 明白吗？
|
|
1:41:54
|
[Mitchell] Clanton's charged, fully felt acting proves his understanding
|
克兰顿充满情绪
充满感情的表演证明了他对
|
|
1:41:58
|
of Sonny's psychic scar tissue from a lifetime of violence.
|
索尼因为一生的暴力所引起的
心理伤疤的理解
|
|
1:42:03
|
[Jackson] He just so opposite of who that dude was. He was not that guy.
|
他和那家伙的身份完全相反
他不是那个人
|
|
1:42:07
|
He was acting.
|
他在演戏
|
|
1:42:09
|
You know. You coulda--
|
你知道的 你本可以…
|
|
1:42:11
|
They… they coulda found that out the same way I did.
|
他们本来也能像我一样发现的
|
|
1:42:14
|
Just by saying, "Come in this room and talk to us."
|
就说：“进来跟我们聊聊”
|
|
1:42:16
|
[Mitchell] If the decade 1968 through 1978 was about talent seizing opportunity,
|
如果说从1968到1978年的十年
是演员抓住机遇
|
|
1:42:22
|
there's no better tribute to that motivation
|
没有比西德尼·波蒂埃的改造
|
|
1:42:24
|
than the reinvention of Sidney Poitier,
|
更好的动机了
|
|
1:42:26
|
who turned himself into a blue-collar straight man
|
他在《周六奇奥夜》里
|
|
1:42:28
|
in Uptown Saturday Night.
|
把自己变成了蓝领直男
|
|
1:42:30
|
You all right, baby?
|
你没事吧 宝贝？
|
|
1:42:32
|
I'm fine.
|
我没事
|
|
1:42:33
|
I love… Sidney's comedy.
|
我喜欢西德尼的喜剧
|
|
1:42:36
|
Gentlemen.
|
先生们
|
|
1:42:37
|
[Fishburne] He is incredibly funny in it.
|
他在这方面非常有趣
|
|
1:42:40
|
And I love that it is a depiction of Black life
|
我喜欢它以正常的方式
|
|
1:42:46
|
in a normalized way.
|
描述黑人的生活
|
|
1:42:47
|
[Mitchell] Such was Poitier's physical command
|
那就是波蒂埃演员的能力
|
|
1:42:50
|
that he made himself visibly uncomfortable in a suit,
|
他让他自己穿西装看起来明显不舒服
|
|
1:42:53
|
the kind of thing that he usually wore like a second skin.
|
他通常穿西装
像自己的第二层皮肤一样舒服
|
|
1:42:56
|
Audiences were giddy
|
观众们很激动 他能讽刺他自己的着装方式
|
|
1:42:58
|
that he could satirize his own stylish earnestness,
|
他能讽刺他自己的着装方式
|
|
1:43:00
|
and he was a movie star once more in one of his biggest hits ever.
|
他在遭受有史以来最大的打击里
又一次做了电影明星
|
|
1:43:04
|
And if Poitier could make himself bigger than life in the movies
|
如果波蒂埃能让他自己
在电影里以一种全新的方式
|
|
1:43:08
|
in an entirely new way, then anything was possible.
|
引起特殊的注意
那么一切都有可能了
|
|
1:43:25
|
Perhaps the greatest legacy of this era,
|
也许这个时代最伟大的遗产
|
|
1:43:28
|
during a time of strain and reassessment in the mainstream,
|
在主流重压和重新评估的那段时间
|
|
1:43:31
|
and such moments being reflected in most movies,
|
这样的瞬间
在大部分的电影里反映了出来
|
|
1:43:33
|
is the joy that Black performers took in being before the camera.
|
是黑人表演者在镜头前表演的愉悦
|
|
1:43:42
|
There are probably more entrances given protagonists of Black films
|
黑人电影的主角出场可能比
|
|
1:43:46
|
than in all the movies of the 1930s put together.
|
20世纪30年代的所有电影都多
|
|
1:43:49
|
In some cases, the actors got multiple entrances,
|
在某些情况下 演员们有多次出场
|
|
1:43:52
|
and the soundtracks ushered them onto the screen.
|
配乐引导他们进入荧屏
|
|
1:43:55
|
The engagement these movies demanded from audiences
|
这些电影对观众注意力的要求
|
|
1:43:57
|
often played like the moments in musicals before a dance number erupts,
|
经常像是在音乐剧中
突然跳舞之前的时刻一样
|
|
1:44:01
|
and the air is charged.
|
空气里充满了兴奋
|
|
1:44:19
|
It was this decade's movies that gave notice,
|
正是这十年的电影给
|
|
1:44:22
|
careers, and new leases on life to Black talent.
|
黑人演员带来了关注、事业、
和人生新的机会
|
|
1:44:26
|
The industry would squander that potential for them.
|
这个行业会浪费他们这种潜力
|
|
1:44:29
|
For example, Cleavon Little…
|
比如说克利文·利特尔…
|
|
1:44:30
|
Hey, where the white women at?
|
嘿 那个白人女性在哪里？
|
|
1:44:34
|
[Mitchell] …whose quicksilver straight-man verve was as responsible
|
…他的瞬息万变 直男的能量
|
|
1:44:37
|
for the success of Blazing Saddles as anything else.
|
给《闪亮的马鞍》带来了
像其他东西一样的成功
|
|
1:44:41
|
What did you expect?
|
你以为是什么？
|
|
1:44:43
|
"Welcome, sonny"?
|
“欢迎 儿子”？
|
|
1:44:45
|
[Mitchell] Cleavon Little never found another leading role
|
克利文·利特尔没有找另一个主演
|
|
1:44:48
|
to showcase his abilities,
|
来展现他的能力
|
|
1:44:50
|
unlike his costar, Gene Wilder.
|
他的联合主演
吉恩·怀尔德就不一样了
|
|
1:44:55
|
♪ That's the way of the world ♪
|
（《世界的法则》1975年
导演：西格·肖尔）
|
|
1:44:59
|
[Mitchell] That surge of musical endorphins informed a film
|
那股音乐内啡肽的激增给电影带来
|
|
1:45:02
|
with probably the best-selling Black soundtrack of the period,
|
那段时间卖得最好的黑人原声
|
|
1:45:05
|
directed by the producer of Super Fly.
|
导演是《超飞》的制作人
|
|
1:45:08
|
It's a musical so undercooked the band doesn't bother to speak.
|
这是一部懒散到乐队都
懒得说话的音乐剧
|
|
1:45:12
|
Some might say the film's music was so transporting they don't need to.
|
有些人可能会说电影的音乐
煽情得太过分了
|
|
1:45:16
|
And the spiritual wallop of songs such as "That's the Way of the World"
|
那种振奋人心的歌
像“那是世界之道”这样
|
|
1:45:20
|
proved that point.
|
证明了他们不需要说话
|
|
1:45:24
|
[Mitchell] The first major studio version of a slave narrative,
|
第一个主要的工作室版本的奴隶叙事
|
|
1:45:27
|
the adaptation of Mandingo,
|
《曼丁哥》的改编电影
|
|
1:45:29
|
slaps onto the screen with its gaudy inhumanity intact.
|
在所有花哨不谦虚中
有攻击性地上映了
|
|
1:45:33
|
This decades-old literary sensation
|
这种几十年的文学成功
|
|
1:45:35
|
was adapted by Oscar-nominee Norman Wexler,
|
改编自奥斯卡提名的
诺尔曼·韦克斯勒
|
|
1:45:38
|
with a cast that includes James Mason and his florid accent…
|
演员包括詹姆斯·梅森
和他绚烂的口音…
|
|
1:45:42
|
Get down there.
|
躺下去
|
|
1:45:44
|
All right.
|
好了
|
|
1:45:47
|
[Mitchell] …which seems less crazy after the trashy parade of racism.
|
…在种族主义的下流游行之后
看起来就没那么疯狂了
|
|
1:45:50
|
The movie's obsession with Black sexuality
|
这部电影迷恋黑人的性取向
|
|
1:45:54
|
and ridiculing white fear of it
|
和嘲笑白人的恐惧
|
|
1:45:56
|
inspired the body-worshipping photography of Robert Mapplethorpe.
|
受到了罗伯特·马普索普的
身体崇拜摄影的鼓舞
|
|
1:46:01
|
That's proof Black Jesus was the revenant's cousin too.
|
这证明了黑耶稣也和亡魂相关
|
|
1:46:04
|
[Mitchell] But Black film continues to explode through one genre after another
|
但是黑人电影从一个类型
到另一个类型进发
|
|
1:46:08
|
with writer-director Ralph Bakshi's Coonskin,
|
拉尔夫·巴克西编剧的《浣熊皮》
|
|
1:46:10
|
a combination of live action and animation that stars Barry White,
|
结合了明星巴里·怀特的真人动画
|
|
1:46:14
|
actor-playwright Charles Gordone, and Philip Michael Thomas,
|
演员编剧查尔斯·戈登还有
菲利普·迈克尔·托马斯
|
|
1:46:17
|
who would later star in Miami Vice and coin the acronym EGOT.
|
他后来主演了《迈阿密风云》
创造了EGOT的缩写
|
|
1:46:21
|
Starting with its assaultive title, Bakshi's experiment packs in
|
从难听的名字开始
巴克西的尝试加入了
|
|
1:46:25
|
much commentary on race and its cinematic treatment.
|
很多对种族的评论和影片的处理
|
|
1:46:28
|
From parodying Br'er Rabbit
|
从模仿布雷尔兔
|
|
1:46:30
|
to sending up Krazy Kat.
|
到取笑疯狂猫
|
|
1:46:31
|
Night after night, Malcolm remains cool.
|
夜复一夜 马尔科姆还是很凉快
|
|
1:46:36
|
[Mitchell] Conceptually, Coonskin stirred up so much turmoil
|
从概念上讲
《浣熊皮》引起了许多骚动
|
|
1:46:39
|
that it scandalized as well as entertained,
|
它的目的就是
|
|
1:46:41
|
which was its point.
|
既震惊又娱乐
|
|
1:46:48
|
This load is getting too heavy to tote.
|
这货太重了 搬不动
|
|
1:46:50
|
[Mitchell] For good or ill, there's still nothing else like it.
|
不管是好是坏 它依然是特别的
|
|
1:46:53
|
Random and abrupt police intrusion in Black life
|
随意和粗鲁的警察闯入黑人生活
|
|
1:46:56
|
played on as part of Black film.
|
作为黑人电影的一部分继续
|
|
1:46:58
|
In Cornbread, Earl and Me,
|
在《玉米面包 厄尔和我》里
|
|
1:47:00
|
a young Black life ended by a cop's bullet is the center of the story,
|
以警察的子弹结束的年轻黑人的
生活是故事的中心
|
|
1:47:04
|
back when such a thing still drew a gasp because it was so rarely dramatized
|
当时这种东西因为很少被戏剧化
而让人惊讶
|
|
1:47:08
|
but got knowing nods from Black audiences.
|
但却得到了黑人观众的认可
|
|
1:47:16
|
[Mitchell] The spill of orange soda in the climactic scene
|
高潮现场的橙汁汽水溢了出来
|
|
1:47:18
|
crudely but imaginatively worked as a stand-in for bloodshed
|
粗糙但有想象力地充当了
流血事件的替代
|
|
1:47:22
|
and still sends a chill through me.
|
依然让我起了一身鸡皮疙瘩
|
|
1:47:25
|
Cornbread!
|
玉米面包！
|
|
1:47:26
|
That movie, for me, is the original Boyz n the Hood.
|
那部电影对我来说
是原始的《街区男孩》
|
|
1:47:31
|
Cornbread, Earl and Me is a tragic story.
|
《玉米面包 厄尔和我》是个悲剧
|
|
1:47:33
|
And Boyz n the Hood is also a tragic story.
|
《街区男孩》也是个悲剧故事
|
|
1:47:37
|
And those things are almost 20-something years apart.
|
那些东西相差将近20年
|
|
1:47:41
|
[all] We do not enter public transportation illegally.
|
我们不会非法进入公共交通
|
|
1:47:45
|
[Mitchell] From the high-flying Shaft and athletes-turned-adventurers,
|
从有野心的《黑街神探》里
运动员成为了冒险家
|
|
1:47:48
|
action downshifted into something drawn like real life.
|
电影逐渐变得更少地专注动作
而更现实
|
|
1:47:52
|
Cooley High, a Black inner-city version of American Graffiti,
|
《龙虎少年队》是黑人市中心版本的
《美国风情画》
|
|
1:47:55
|
with the ups and downs of a coming-of-age story emerged.
|
有成长故事的跌宕起伏
|
|
1:47:59
|
And the story was given a resident lift from Motown songs,
|
故事是从摩城音乐开始的
|
|
1:48:02
|
which would have been the soundtrack of the characters' lives in 1964
|
本来是电影开始的年代 1964年的
|
|
1:48:06
|
when Cooley High was set.
|
人物的配乐
|
|
1:48:07
|
The heady perfume of nostalgia washed over Black audiences,
|
充满怀旧气息 淹没了那些欢迎它的
|
|
1:48:11
|
-who welcomed it. -[Motown music playing]
|
黑人观众
|
|
1:48:13
|
That's Motown music.
|
那就是摩城音乐
|
|
1:48:15
|
And it's the backdrop of Black people's lives…
|
这是电影中 黑人的
|
|
1:48:22
|
…on film.
|
生活背景
|
|
1:48:24
|
That's nice. That's… that's a nice change.
|
这不错 这个改变不错
|
|
1:48:32
|
[Turman] One of the first scenes I remember shooting
|
我先想起拍摄的一件事
|
|
1:48:34
|
is the scene running for the bus.
|
就是奔向公共汽车的场景
|
|
1:48:36
|
That was exactly how I grew up in Manhattan.
|
这正是我在曼哈顿长大的方式
|
|
1:48:39
|
That's what we did. That's what me and my crew did.
|
这就是我们做的
这是我和我的朋友所做的
|
|
1:48:42
|
We ran and jumped on the back of the bus going down 7th Avenue.
|
我们跑到走第七大道的巴士后面
再跳上去
|
|
1:48:45
|
I'll never forget it. But here was the thing…
|
我永远不会忘记 但事情是这样的
当我们沿着第七大道走时
|
|
1:48:48
|
[laughing] …when we did that going down 7th Avenue,
|
但事情是这样的
当我们沿着第七大道走时
|
|
1:48:53
|
we jumped on the bus, and 7th Avenue was cobblestone,
|
我们跳上了车
然后第七大道是鹅卵石
|
|
1:48:56
|
so you held on for dear life!
|
所以你要抓住！
|
|
1:49:00
|
Can I have a hot dog, please?
|
可以给我来个热狗吗？
|
|
1:49:02
|
[Mitchell] Turman plays the big comedic moments and the reality
|
托曼演了重要的喜剧时刻和现实
|
|
1:49:05
|
so that he becomes an important ingredient in Cooley High
|
所以他成为了《龙虎少年队》里的
重要人物
|
|
1:49:08
|
rather than overwhelm it with his spice.
|
而不是靠故意搞笑
|
|
1:49:10
|
-Could I have ketchup on it? -We don't have any ketchup.
|
-可以给我番茄酱吗？
-我们没有番茄酱
|
|
1:49:13
|
-You ain't got no ketchup? -That's right.
|
-你没有番茄酱吗？
-没错
|
|
1:49:15
|
[man] Got some relish? Can I have relish on it, please?
|
有什么小菜吗？
可以给我点小菜吗？
|
|
1:49:17
|
[woman] I don't have relish.
|
我没有小菜
|
|
1:49:18
|
-[man] You got no relish? -[woman] No relish.
|
-你没有小菜吗？
-没有小菜
|
|
1:49:20
|
-[man] What you got? -[woman] Mustard.
|
-那你有什么？
-我们有芥末
|
|
1:49:21
|
-Mustard?! -[woman] That's it.
|
-芥末？
-就是这样
|
|
1:49:23
|
You mean, a big establishment like this, and all you got is mustard?
|
像这样的大饭店就只有芥末？
|
|
1:49:26
|
-That's right. -I don't like mustard. Do you?
|
-没错
-我不喜欢芥末 你喜欢吗？
|
|
1:49:28
|
Yeah, I like mustard.
|
对 我喜欢芥末
|
|
1:49:30
|
Oh yeah? Well then, here. You eat the hot dog.
|
好吧 那在这里 你吃热狗
|
|
1:49:33
|
And along that road,
|
就在这条路上
|
|
1:49:35
|
you hit certain spots that make you go, "Whoa! Yeah, this is-- Yeah!"
|
你碰到了一些让你想去的地方
“对 这是…对！”
|
|
1:49:41
|
All of a sudden, a call comes from nowhere.
|
突然之间 来了个电话
|
|
1:49:43
|
Doesn't even come from my agent. It comes from some strange other place.
|
都不是我的经纪人打来的
是从别的奇怪的地方打来的
|
|
1:49:47
|
"Glynn, Ingmar Bergman is looking for you."
|
“葛林 英格玛·伯格曼在找你”
|
|
1:49:50
|
I said, "I'm in no mood to play. I'm sitting here in the fucking dark."
|
我说：“我没心情玩
我他妈待在黑暗中呢”
|
|
1:49:55
|
"My kids are hungry. I'm-- We're eating potatoes."
|
“我的孩子们饿了 我们在吃土豆”
|
|
1:49:59
|
And I hung up the phone.
|
然后我挂了电话
|
|
1:50:00
|
And the call came. He said, "No, for real, Glynn."
|
然后电话来了
他说：“不 是真的 葛林”
|
|
1:50:03
|
He was looking for me. And he'd seen Cooley High
|
他在找我 他看过《龙虎少年队》
|
|
1:50:07
|
and, you know, said he knew right then that I was the one to be in his movie.
|
你知道 他说他当时知道
我就是那个要出现在他电影里的人
|
|
1:50:13
|
So… so you go from pockets of that kind of disaster to
|
所以你从那种灾难的状况里走出来
|
|
1:50:19
|
euphoria.
|
兴奋
|
|
1:50:21
|
And then, so it's a ride that--
|
然后这是一次…
|
|
1:50:23
|
It's… unbelievable ride.
|
难以置信的旅程
|
|
1:50:30
|
[laughs] You are outrageous, you know that?
|
（《红木》1975年
导演：贝瑞·戈迪） 你太过分了 你知道吗？
|
|
1:50:33
|
[Mitchell] Old-school glamour, as portrayed again by Diana Ross and Billy Dee Williams,
|
再次由戴安娜·罗斯和
比利·迪·威廉姆斯表现的复古魅力
|
|
1:50:37
|
still proved potent in the 1975 romantic melodrama Mahogany.
|
在1975年的浪漫情节《红木》里
依然证明是有效的
|
|
1:50:42
|
You gotta give 'em some pizzazz. Show 'em your charm. Ow!
|
你得给它一点精力 展现你的魅力
|
|
1:50:45
|
I always feel like, sometimes Black men always feel like they have to…
|
我总觉得 有时候黑人
总是觉得他们必须…
|
|
1:50:49
|
Maybe there's a good reason for it. There are obvious reasons for it, I guess.
|
也许有一个好原因 我想原因很明显
|
|
1:50:53
|
But, uh, always this need to show their strength.
|
但总是需要表现出他们的力量
|
|
1:50:58
|
Vulnerability is a wonderful thing to use.
|
脆弱是个可以用的好东西
|
|
1:51:00
|
It's a wonderful tool when you're playing a character.
|
这是你演角色的好工具
|
|
1:51:08
|
I've missed you too.
|
我也想你
|
|
1:51:10
|
[Williams] But that's me. I'm that kind of person.
|
但那是我 我就是那种人
|
|
1:51:12
|
I mean, I'm not afraid to display
|
我是说 我不害怕展现
|
|
1:51:16
|
my, uh… or convey my feelings about,
|
我的… 或者传达我的感受
|
|
1:51:21
|
uh, something if I… if I feel strongly.
|
如果我感受很强烈的话
|
|
1:51:24
|
Play it, Sam.
|
弹吧 萨姆
|
|
1:51:25
|
♪ We're on the rock 'n' roll choo choo Headed for Hollywood… ♪
|
（《到好莱坞的火车旅途》
1975年 导演：查尔斯R·朗多）
|
|
1:51:28
|
[Mitchell] The pop-soul group Bloodstone, whose big hit was "Natural High,"
|
流行灵魂乐队 血石的大成功是
《自然嗨》
|
|
1:51:32
|
were said to have invested their own money to produce
|
据说他们投资了自己的钱 来制作感人又奇怪的音乐剧
|
|
1:51:34
|
the touching and sweetly odd musical
|
来制作感人又奇怪的音乐剧
|
|
1:51:36
|
Train Ride to Hollywood, a pastiche of 1940s movie clichés,
|
《到好莱坞的火车旅途》是一个
20世纪40年代电影腔调的混成曲
|
|
1:51:40
|
and inserted themselves into the mix.
|
然后把他们自己插进混音里
|
|
1:51:46
|
[Mitchell] Among Richard Pryor's gifts was pinpoint cultural criticism,
|
理查德·普赖尔的天赋之一
是准确定位文化评判
|
|
1:51:49
|
as he proved with his 1976 comedy album Bicentennial Nigger
|
他在1976年的喜剧专辑
《二百年的黑鬼》还有
|
|
1:51:54
|
and his take on Logan's Run,
|
他在《逃离地下天堂》的
观点里就证明了
|
|
1:51:56
|
a 1976 Lego-colored, pre-Star Wars sci-fi fantasy.
|
一部1976年的乐高色的
前《星球大战》科幻片
|
|
1:52:01
|
[Pryor] I went to see Logan's Run, right?
|
我去看《逃离地下天堂》了 对
|
|
1:52:03
|
They had a movie of the future called Logan's Run.
|
他们有一部未来电影
《逃离地下天堂》
|
|
1:52:06
|
Ain't no niggas in it.
|
里面没有黑兄弟
|
|
1:52:07
|
I said, "Well, white folks ain't planning for us to be here."
|
我说：“白人不打算让我们来这里”
|
|
1:52:14
|
[Pryor] That's why we gotta make movies. Then we'll be in the picture.
|
所以我们才要拍电影
那我们就在照片里了
|
|
1:52:19
|
People don't ever want to-- And… and please forgive me.
|
大家都不想要…请原谅我
|
|
1:52:23
|
People never want to offend white folks.
|
人们永远不想冒犯白人
|
|
1:52:27
|
They want to be able to keep white folks on their side
|
他们想把白人留在自己这边
|
|
1:52:30
|
so that they will be allowed to make these movies.
|
这样他们才能被允许拍这些电影
|
|
1:52:37
|
[Mitchell] By 1976,
|
到1976年
|
|
1:52:39
|
after Black films redeemed the ideal of heroic protagonists,
|
在黑人电影救赎了
英雄主角的理想之后
|
|
1:52:42
|
mainstream movies once again saw their worth.
|
主流电影再次看到了他们的价值
|
|
1:52:45
|
Smile, you son of a…
|
笑一笑 你这个混…
|
|
1:52:46
|
[Mitchell] The Sting and Jaws, which returned the thrill of victory
|
《骗中骗》和《大白鲨》
胜利的喜悦回来了
|
|
1:52:50
|
to white male movie stars, were massive hits.
|
对白人男性电影明星来说
是巨大的打击
|
|
1:52:53
|
In fact, both Jaws and The Sting
|
其实《大白鲨》和《骗中骗》
|
|
1:52:55
|
were made by the same producers that did Willie Dynamite.
|
都是同一个制作人
那就是威利·迪纳米特
|
|
1:52:58
|
The Sting's plot could have been lifted from the novel Trick Baby, also a film.
|
《骗中骗》的情节本来可以从小说
《冰山瘦身》里抄的 也是一个电影
|
|
1:53:03
|
And, by 1976's end, Rocky Balboa,
|
到了1976年底 洛奇·巴尔博厄 一个本可以走出
黑人动作电影的英雄
|
|
1:53:07
|
a hero who could have stepped out of a Black action movie,
|
洛奇·巴尔博厄 一个本可以走出
黑人动作电影的英雄
|
|
1:53:09
|
was pitted against a clumsy and mocking Muhammad Ali archetype.
|
与笨拙而讽刺的
穆罕默德·阿里原型形成对比
|
|
1:53:12
|
And though Rocky didn't win the fight,
|
虽然洛奇没有赢得拳击比赛
|
|
1:53:14
|
he got the Best Picture Oscar and the box office success to go with it.
|
他获得了奥斯卡最佳影片奖
获得了票房的成功
|
|
1:53:18
|
He looks like a big flag.
|
他看起来像个大旗
|
|
1:53:20
|
[Mitchell] Rocky featured a Black heavyweight champ
|
洛奇演了一位黑人重量级冠军
|
|
1:53:23
|
who was a parody of the all-beef persona Ali brought to the ring.
|
他是阿里带到拳击场上的
所有男性人物的嘲仿
|
|
1:53:28
|
But Ali used humor as a mind game on his opponents,
|
但阿里把幽默当成
给那些想盯着他
|
|
1:53:31
|
who all tried to glare him into submission. He wasn't a clown.
|
给他施压的对手的心理游戏
他不是小丑
|
|
1:53:34
|
In fact, Ali knew he could pretend to take things lightly
|
事实上 阿里知道他可以假装轻松
|
|
1:53:38
|
because his skills would prove his indomitability,
|
因为他的能力证明了他的顽强
|
|
1:53:41
|
including a willingness to take a punch,
|
包括愿意出拳
|
|
1:53:43
|
which may have accelerated his slide into Parkinson's.
|
这可能加速了他患上帕金森
|
|
1:53:47
|
Stallone's savvy had him lift cleverly from Black culture
|
史泰龙的机智让他聪明地
摆脱了黑人文化
|
|
1:53:51
|
such ideas as pounding beef in the meat locker
|
像是在肉柜里敲碎牛肉
|
|
1:53:53
|
and running up the museum steps, which Joe Frazier did first,
|
跑上博物馆的台阶一样的想法
乔·弗雷泽先做了
|
|
1:53:57
|
as the book Ghosts of Manila reminds us.
|
就像《马尼拉的鬼魂》这本书
提醒我们的一样
|
|
1:54:01
|
As Rocky's foe, Apollo Creed,
|
作为洛奇的对手 阿波罗·克雷德
|
|
1:54:04
|
Carl Weathers bent himself into a pretzel to bring himself down to Stallone's size.
|
卡尔·韦瑟斯停止让他自己
变成史泰龙的体型
|
|
1:54:09
|
I needed a chiropractor after watching Weathers fold himself
|
看到卡尔·韦瑟斯弯腰
和洛奇在同一水平之后
|
|
1:54:12
|
to the level of Rocky's fists.
|
我需要去看脊椎按摩师了
|
|
1:54:16
|
By 1976, the notion of using the power of musicals to capture audience attention
|
到了1976年 利用音乐剧的力量
吸引观众的注意力
|
|
1:54:21
|
was no longer lost on mainstream filmmakers.
|
不再被主流电影制作人忽略了
|
|
1:54:26
|
With Car Wash, composer Norman Whitfield was primed to outdo Shaft and Super Fly,
|
《洗车场》作曲家诺曼·惠特菲尔德
准备超越《黑街神探》和《超飞》
|
|
1:54:31
|
with a theme of hard-hitting funk bounce sutured to a social context.
|
主题是强烈的放克弹跳
与社会背景相结合
|
|
1:54:36
|
And it worked.
|
结果成功了
|
|
1:54:44
|
This song, "Something He Can Feel,"
|
这首歌 《他能感受到的东西》
|
|
1:54:47
|
was Curtis Mayfield's take on Motown girl-group simmer.
|
是柯蒂斯·梅菲尔德在
摩城女团的性感魅力上的想法
|
|
1:54:50
|
Mayfield wrote it for the proto-Dreamgirls,
|
梅菲尔德为了《梦女孩》的
原型写了这首歌
|
|
1:54:53
|
Black showbiz melodrama, Sparkle…
|
黑人娱乐圈情节剧 《奔向爱》…
|
|
1:54:55
|
♪ …I'm too young to let you know Just where I'm coming from ♪
|
…我太年轻了 不能告诉你我来自哪里
|
|
1:55:01
|
…which should have ignited the career of star Lonette McKee
|
…这本该开启明星
罗塔·麦基的职业生涯
|
|
1:55:05
|
and been more than a footnote for Irene Cara and Philip Michael Thomas.
|
让艾琳·卡拉和
菲利普·迈克尔·托马斯更出名
|
|
1:55:10
|
Sparkle was screenwriter Joel Schumacher's follow-up to Car Wash,
|
《奔向爱》是编剧乔尔·舒马赫的
《洗车场》的后续作品
|
|
1:55:14
|
and he wrote it to hypnotize audiences and direct himself.
|
他写这个是为了让观众着迷
也指引自己
|
|
1:55:18
|
It ended up dazzling the handful who saw it
|
结果让看到它的少数人印象深刻
|
|
1:55:20
|
but not with Schumacher behind the camera.
|
但在镜头后面没有舒马赫
|
|
1:55:24
|
Like the potential crowd-pleaser
|
比如很可能受观众喜爱的
|
|
1:55:26
|
The Bingo Long Traveling All-Stars & Motor Kings,
|
《宾果长途旅行全明星&汽车国王》
|
|
1:55:29
|
this story of the Negro Leagues
|
这个黑人联盟的故事
|
|
1:55:31
|
also functioned as a metaphor for the amount of effort
|
也可以用做比喻为了给观众带来娱乐
|
|
1:55:34
|
Blacks had to put into entertaining audiences.
|
黑人必须付出多少努力
|
|
1:55:36
|
The players had to give a show on the way to the stadium
|
球员们在去球场的路上一定要表演
|
|
1:55:39
|
and still played nine innings of baseball.
|
然后还要玩九局棒球
|
|
1:55:41
|
I loved it. I really wanted to do Bingo
|
我很喜欢 我真的很想演宾果
|
|
1:55:44
|
'cause Bingo was a really fun kind of character.
|
因为宾果是个很有趣的角色
|
|
1:55:47
|
I mean, the man is guaranteeing us $200.
|
我是说 那个男人保证给我们200美元
|
|
1:55:49
|
If you slice that 11 ways, that comes out to about, uh…
|
如果你用这11种方式 那就能产生…
|
|
1:55:55
|
A lot of money!
|
很多钱！
|
|
1:55:57
|
[Mitchell] Bingo is all the things Williams is.
|
宾果就是威廉姆斯的一切
|
|
1:56:00
|
He's physical. He has an appetite for life.
|
他很强壮 他对生活有热情
|
|
1:56:02
|
Full of crap, you know.
|
全是放屁 你知道
|
|
1:56:09
|
[man 1] Who you got, man?
|
你找谁 兄弟？
|
|
1:56:12
|
[man 2] A real foxy lady.
|
一个美女
|
|
1:56:13
|
[Mitchell] The 1977 film Brothers was a peculiar and rare attempt
|
1977年的电影《兄弟》是一个
在黑人政治情节剧上的
|
|
1:56:18
|
at Black political melodrama.
|
奇特而罕见的尝试
|
|
1:56:20
|
With its haunted Taj Mahal score,
|
不绝于耳的泰姬陵配乐
|
|
1:56:23
|
it was a romance of ideals with Bernie Casey and Vonetta McGee
|
这结合了伯尼·凯西和
沃内塔·麦吉的天马行空
|
|
1:56:27
|
as characters based on George Jackson and Angela Davis.
|
是基于乔治·杰克逊和
安吉拉·戴维斯的角色
|
|
1:56:30
|
But pretty much all this movie did was gape at their bone structure.
|
但这部电影几乎都是专注于架构的
|
|
1:56:34
|
Before Marvel and DC dropped faithful movie adaptations
|
在漫威和DC发行忠实的改编
|
|
1:56:38
|
of their universes on regular schedules, the well-meaning street superhero story
|
他们固有时间的宇宙之前
善意的街头英雄故事
|
|
1:56:43
|
Abar: the First Black Superman hit screens.
|
《阿巴尔：第一位黑人超人》上映了
|
|
1:56:47
|
This film celebrates the Watts Tower on-screen,
|
这部电影在屏幕上庆祝瓦茨塔
|
|
1:56:50
|
giving it a sense of place in the Black world.
|
给它在黑人世界的地位感
|
|
1:56:52
|
-Commence firing! -[whooshing]
|
开火！
|
|
1:56:59
|
[Mitchell] And, in an early version of sampling,
|
在早期样本的版本中
|
|
1:57:01
|
it used Captain America's origin story as a serving suggestion.
|
它利用了美国队长的起源故事
作为建议
|
|
1:57:05
|
As a Black race, let's get ourselves together,
|
作为一个黑人种族 我们各方面
|
|
1:57:08
|
in every respect.
|
都要团结起来
|
|
1:57:09
|
For that, I'll sacrifice anything short of murder.
|
为了这个
除了谋杀之外我会牺牲任何东西
|
|
1:57:12
|
Well, uh, suppose I could, uh, make you indestructible.
|
好吧 我想我会让你坚不可摧
|
|
1:57:18
|
[Mitchell] The cycle of Black film was slowly winding down,
|
黑人电影的循环正在慢慢结束
|
|
1:57:21
|
as the sure-bet returns on Black films of a certain type
|
就像某种类型的黑人电影的回报一样
|
|
1:57:24
|
were diminishing at a rate that seemed exponential.
|
正在以指数级的速度递减
|
|
1:57:28
|
So, there was no place for a peculiar high point of the 1970s,
|
所以 20世纪70年代没有特有的高潮
|
|
1:57:32
|
a biopic about a real-life boxer,
|
是一部关于真实拳击手的传记片
|
|
1:57:35
|
with a theme song that initially provoked unintentional laughs.
|
主题曲最初是引起了无意的笑
|
|
1:57:38
|
♪ I believe the children are our future ♪
|
我相信孩子们是我们的未来
|
|
1:57:42
|
♪ Teach them well And let them lead the way ♪
|
好好教他们让他们带路
|
|
1:57:46
|
♪ Show them all the beauty They possess inside ♪
|
给他们展示本身内在拥有的所有美丽
|
|
1:57:51
|
[Mitchell] Houston's chart-topping claiming of this song
|
休斯顿的排行榜首是这首歌
|
|
1:57:53
|
lifted it from ode to self-absorption to self-empowerment hymn.
|
把它从歌颂自我专注
转到歌颂自我赋权
|
|
1:57:57
|
This embrace of "The Greatest Love of All" was a generational shift.
|
这份“至高无上的爱”的拥抱
就是一代一代的转变
|
|
1:58:02
|
Following the lead of actors from 1968 adopting Ali's bravado,
|
1968年的演员们采用了阿里的冒险
|
|
1:58:06
|
it signaled the change in mainstream perception of Ali,
|
这标志着人们对阿里的
主流看法发生了变化
|
|
1:58:09
|
from showboat to "The Greatest Love of All."
|
从卖弄到“至高无上的爱”
|
|
1:58:14
|
Prior to this 1968 through '78 era,
|
在1968到78年代之前
|
|
1:58:17
|
movie soundtracks didn't matter to the studios
|
电影配乐对电影公司并不重要
|
|
1:58:19
|
because they didn't consistently sell much,
|
因为他们一直卖的不多
|
|
1:58:22
|
and usually came out months after the movies were released.
|
通常在电影上映后几个月发出来
|
|
1:58:25
|
Black '70s film ignored that example.
|
（詹姆斯·布朗《黑凯撒》）
|
|
1:58:28
|
The scores weren't just textures but detonations of thought and sound.
|
配乐不只是背景音
而是思想和声音的爆炸
|
|
1:58:33
|
Their boldness transformed movie music and mainstream music forever.
|
他们的勇敢让电影音乐
和流行音乐永远改变了
|
|
1:58:38
|
Suddenly, movie music was a commercial consideration.
|
突然间 电影音乐成了商业考量
|
|
1:58:41
|
Black film soundtracks multiplied,
|
黑人电影配乐成倍增加
|
|
1:58:44
|
composed and performed by R&B singers, jazz artists,
|
由节奏布鲁斯歌手、爵士乐手
|
|
1:58:48
|
classically trained musicians, who made a fusion of classical and modern.
|
受过经典训练的融合了古典和现代的
音乐家作曲和演奏
|
|
1:58:52
|
Master session drummer Bernard Purdie
|
大师级鼓手伯纳多·坡迪
|
|
1:58:55
|
was out to show the true definition of funk
|
在黑人X级电影《利亚莱》里
|
|
1:58:58
|
in the Black X-rated film Lialeh,
|
来展示放克的真正定义
|
|
1:59:00
|
where he's on camera playing the score he composed for the movie.
|
他在镜头里演奏为那部电影写的乐谱
|
|
1:59:06
|
Eventually, the movies would have to take notice
|
最终 那些电影必须注意
|
|
1:59:09
|
because too many hits were coming out of these Black movie scores.
|
因为太多打击乐是来自于
这些黑人电影配乐了
|
|
1:59:18
|
Robert Stigwood was producing a movie
|
罗伯特·斯蒂格伍德在做一部
|
|
1:59:20
|
about the white middle-class being consumed by disco.
|
关于白人中产阶级迷恋迪斯科的
故事的电影
|
|
1:59:23
|
You know, Black music.
|
你知道 黑人音乐
|
|
1:59:25
|
Because Stigwood also owned a record label,
|
因为斯蒂格伍德也有唱片公司
|
|
1:59:28
|
he made sure to use a film soundtrack featuring his biggest artists,
|
他确信用电影配乐来
主打他最大的歌手
|
|
1:59:31
|
the Bee Gees, to sell the movie
|
比吉斯来卖电影
|
|
1:59:33
|
and help his potential audience get over its fear of a Black planet.
|
帮助他的潜在观众
摆脱对黑色星球的恐惧
|
|
1:59:38
|
Soon, soundtracks would come to dominate the pop charts
|
很快 配乐会主宰流行乐排行榜
|
|
1:59:41
|
and be expected to because of the Black film example.
|
而且会因为黑人电影的例子被期待
|
|
1:59:44
|
It's one of the many lasting and unheralded achievements
|
这是在黑色电影这个时代的
|
|
1:59:48
|
of Black film of this era.
|
许多持久而不为人知的成就之一
|
|
1:59:53
|
In 1977, the most attractive points of Black film,
|
在1977年 黑人电影最吸引人的点
|
|
1:59:56
|
the entrance, the confidence, the propulsive theme to announce the star,
|
切入点、自信、有能量的主旋律
告诉明星
|
|
2:00:01
|
like this, finally received its homage in a mainstream movie.
|
就像这样
最终会收到主流电影的敬意
|
|
2:00:05
|
♪ Music loud and women warm ♪ ♪ I've been kicked around Since I was born ♪
|
（《周末夜狂热》1977年
导演：约翰·巴达姆）
|
|
2:00:10
|
[muffled] ♪ And now it's all right It's okay… ♪
|
（《黑街神探》1971年
导演：戈登·帕克斯）
|
|
2:00:12
|
[Mitchell] Which is to say, every generation gets its own Elvis or Eminem.
|
也就是说 每一代都有自己的
猫王或艾米纳姆
|
|
2:00:19
|
John Travolta was another note in the decades-long symphony of swagger,
|
约翰·特拉沃尔塔是长达数十年的
狂妄交响乐中的另一个音符
|
|
2:00:24
|
an off-white take on Black cool,
|
不是纯白人
|
|
2:00:27
|
the next best thing.
|
仅次于最好的
|
|
2:00:29
|
Travolta, as Tony Manero,
|
特拉沃尔饰演托尼·马利龙
|
|
2:00:32
|
may not have been the first to use Black beats of stylization,
|
可能不会是第一个用黑人风格的
|
|
2:00:35
|
but he embraced it with a bone-deep flair for expropriation.
|
但他用惊人的能力采用了黑人的风格
|
|
2:00:38
|
His intensity and intent
|
他的热情和专注
|
|
2:00:41
|
became a truly realized cultural phenomenon,
|
成为了真正意义上的文化现象
|
|
2:00:44
|
the biggest ever.
|
有史以来最强烈的
|
|
2:00:47
|
By 1978, Richard Pryor had appeared in 20 movies.
|
到了1978年 理查德·普赖尔
出现在了20部电影里
|
|
2:00:51
|
With the exception of a handful of turns,
|
除了几个角色之外
|
|
2:00:54
|
his live standup, and Wattstax, none consistently made use of his talent.
|
他的现场状况 《沃特斯塔克》
不能一直利用他的天分
|
|
2:00:58
|
Wanna buy a radio?
|
想买收音机吗？
|
|
2:00:59
|
My locker's been busted for six months now, man,
|
我的储物柜现在坏六个月了 兄弟
|
|
2:01:02
|
and the company ain't did shit to fix it.
|
公司也没能解决问题
|
|
2:01:04
|
Now I have to stick my finger in some tiny-ass hole.
|
现在我得把手指伸进一个小屁眼里
|
|
2:01:07
|
I cut my finger, man, two weeks ago, and it ain't healed yet.
|
我两周前割伤了手指 伤口还没愈合
|
|
2:01:10
|
[Mitchell] In '78, he costarred in what would be a most demanding role.
|
在78年 他与别人一起主演了一个
要求很高的角色
|
|
2:01:15
|
He played a volatile and miserable autoworker in Blue Collar,
|
他在《蓝领阶级》里演了一个
不稳定而悲惨的汽修工
|
|
2:01:19
|
which would also remain his own favorite acting work.
|
这也一直是他自己最喜欢的表演工作
|
|
2:01:23
|
You a redneck, peckerwood motherfucker, you know that?
|
你真是个乡巴佬 知道吗？
|
|
2:01:26
|
That's it, you're through. I've had your bullshit.
|
就是这样 你太傲慢了 我炒掉你了
|
|
2:01:29
|
I'mma kill a motherfucker! You understand that?
|
我要杀了那个混蛋！你明白吗？
|
|
2:01:31
|
[Mitchell] It was a film whose atmosphere was so combative,
|
那部电影的气氛很好斗
|
|
2:01:34
|
you could make a great movie about the making of Blue Collar.
|
你能做一个关于改编
《蓝领阶级》的很好的电影
|
|
2:01:37
|
It would be the following year
|
那是第二年
|
|
2:01:39
|
that Pryor would release himself from fur-lined handcuffs
|
普赖尔会从皮毛手铐里解脱
|
|
2:01:42
|
in his most complex and remarkable role,
|
在他最复杂 最出色的角色中
|
|
2:01:45
|
himself.
|
就是他自己
|
|
2:01:46
|
I don't wanna never see no more police in my life.
|
我这辈子再也不想看到警察了
|
|
2:01:51
|
At my house. [chuckles]
|
在我家里
|
|
2:01:54
|
[Mitchell] To witness Pryor's startling, jazz-drummer control
|
目睹普赖尔的惊心
在电影《现场演唱会》里
|
|
2:01:57
|
in the film Live in Concert
|
掌控爵士鼓
|
|
2:01:59
|
is to see he was the Tony Williams of comedians.
|
就是看他是喜剧演员的
托尼·威廉姆斯
|
|
2:02:03
|
It only highlighted how the studios made movies,
|
它只强调了电影制片厂
是如何做电影的
|
|
2:02:06
|
such as The Wiz, that squandered his blistering truth.
|
就像《新绿野仙踪》一样
浪费了他明显的天分和能力
|
|
2:02:10
|
Phony!
|
菲妮！
|
|
2:02:12
|
[Mitchell] At this point, it feels like only one thing can save Black film from oblivion.
|
现在感觉只有一件事能够
拯救黑人电影不被遗忘
|
|
2:02:16
|
The Wiz is out! He's not here!
|
维兹出去了！他不在这里！
|
|
2:02:19
|
I'm on my way to find The Wiz.
|
我去找维兹了
|
|
2:02:22
|
He's gonna get me back home.
|
他会带我回家的
|
|
2:02:24
|
Well, that's nice.
|
那很好
|
|
2:02:25
|
[Mitchell] Was it an all-stops-out musical from one of the most respected directors,
|
最受尊敬的导演之一
拍摄了大规模音乐剧
|
|
2:02:29
|
with a film debut of a performer destined to become
|
电影首秀中的表演者注定会成为
|
|
2:02:32
|
the biggest pop music phenomenon of the next decade
|
未来十年最大的流行音乐现象
|
|
2:02:35
|
and a budget that could possibly equal what was spent
|
预算也可能和支出相同
|
|
2:02:38
|
to make all the Black films produced in 1968?
|
来拍1968年的所有黑人电影吗？
|
|
2:02:41
|
A good thought in the abstract but probably not in real life.
|
一个很好的初步想法
但可能不会实现
|
|
2:02:45
|
The director was someone whose best work
|
导演最好的作品是
|
|
2:02:47
|
was tense, gritty movies, such as Serpico and Dog Day Afternoon.
|
紧张坚韧的电影
像《冲突》和《热天午后》一样
|
|
2:02:51
|
The star's about 20 years too old for the part,
|
这个明星比饰演的角色大20岁
|
|
2:02:54
|
and the expressionism
|
还有表现主义
|
|
2:02:56
|
and gospel-flavor intimacy of the stage show
|
以及舞台表演的传闻亲密关系
|
|
2:02:58
|
is replaced by hundreds of extras trying not to bump into each other
|
由数百个尽量不撞到对方的
临时演员替代
|
|
2:03:01
|
in outfits that still seem to have shiny price tags hanging off them.
|
他们穿着似乎还挂着闪亮标签的衣服
|
|
2:03:06
|
The Wiz is said to have cost between 25 and 40 million dollars to make,
|
据说《新绿野仙踪》的成本
在2500到4000万美元之间
|
|
2:03:11
|
as much as Super Fly grossed.
|
和《超飞》的毛收入一样
|
|
2:03:13
|
It lacked the infectious aplomb and winning brio
|
它缺乏成功黑人电影的
|
|
2:03:16
|
of the Black movies that did succeed.
|
有感染性的沉着和能量
|
|
2:03:18
|
It only made about a third of its costs back.
|
它只赚了成本的三分之一
|
|
2:03:21
|
Sure, it may have got bad reviews,
|
它可能有不好的评价
|
|
2:03:22
|
but so did most of the films that did extraordinary business.
|
但大部分做非凡生意的电影也会如此
|
|
2:03:25
|
The simple fact is The Wiz lost money.
|
简单的事实是《新绿野仙踪》赔钱了
|
|
2:03:28
|
So much that it gave the movie industry the reason it had been looking for
|
它给了电影业一直在寻找的
|
|
2:03:31
|
to withdraw from the Black movie business
|
退出黑人电影业的理由
|
|
2:03:34
|
and handed movie executives the chance to say things like,
|
让电影公司的高管们有机会说
|
|
2:03:37
|
"Black people don't wanna see themselves in movies anymore."
|
“黑人不想再在电影里看到自己了”
|
|
2:03:40
|
Or something I actually heard from one,
|
或者我从一个人那里听到的话：
|
|
2:03:42
|
"Black people don't see themselves in historical dramas anyway."
|
“黑人在历史剧里
怎样都不能看到自己”
|
|
2:03:47
|
It was in 1978
|
在1978年
|
|
2:03:49
|
that the white male movie star reaccepted the mantle of hero
|
白人男性电影明星重新
接受了英雄的斗篷
|
|
2:03:52
|
after rejecting it to embody the tormented antihero for over a decade,
|
是为了体现受折磨的反英雄
而拒绝了它十多年之后
|
|
2:03:57
|
the sure and steely-eyed hero archetype…
|
坚定而坚韧的英雄原型…
|
|
2:04:01
|
[announcer] Burt Reynolds is Hooper.
|
伯特·雷诺兹饰演奥佩尔
|
|
2:04:03
|
And Hooper is a real hero.
|
奥佩尔是个真正的英雄
|
|
2:04:06
|
[Mitchell] …and finally absorbed the lesson
|
…最终吸取了
|
|
2:04:08
|
that these Black films understood early on.
|
这些黑人电影早期的教训
|
|
2:04:10
|
The biggest myth that the movies promoted,
|
电影给出的最大的神话
|
|
2:04:13
|
going back to D.W. Griffith and even before,
|
回到D.W.·格里菲斯
甚至更早的时候
|
|
2:04:16
|
is that we want to be saved.
|
是我们想保留的
|
|
2:04:19
|
But it's often a satisfying lie,
|
但它通常是个令人满意的谎言
|
|
2:04:21
|
a chili cheeseburger, poisonous but so good.
|
一个辣芝士汉堡 有毒但是很好吃
|
|
2:04:28
|
[Mitchell] Warren Beatty ascended from impotent bank robber to the heavens.
|
沃伦·比提从无能的银行劫匪
升入天堂
|
|
2:04:32
|
Heaven Can Wait could be viewed as the closing of a circle,
|
《天堂可以等待》被看成是圆的结束
|
|
2:04:36
|
because a '70s remake of Here Comes Mr. Jordan
|
因为70年代《太虚道人》的翻拍
|
|
2:04:38
|
began its life in the hands of a Black performer
|
开启了黑人演员和弗朗西斯·科波拉
|
|
2:04:41
|
working with Francis Coppola.
|
合作的生涯
|
|
2:04:43
|
[Coppola] It was a really funny script because he's this white guy
|
剧本很有趣 因为他是一个
|
|
2:04:46
|
who dies and comes back as Bill Cosby,
|
以白人的身份去世
但以比尔·科斯比回来的人
|
|
2:04:49
|
but everyone sees him as white.
|
但大家都把他当白人看待
|
|
2:04:52
|
He liked-- I don't know why it was never done.
|
他喜欢…我不知道为什么
从来没做过这个
|
|
2:04:54
|
[Mitchell] Robert De Niro employed his movie-star concentration
|
罗伯特· 德·尼罗
利用他的电影明星
|
|
2:04:58
|
to play an old-school avenger.
|
来演一个复古的复仇者
|
|
2:05:00
|
Clint Eastwood put down his .44 Magnum to hang with the apes.
|
克林特·伊斯特伍德放下了他的身份
去和猩猩一起玩
|
|
2:05:04
|
And the rocket that was launched from the planet Krypton by DC Comics in 1938
|
后来1938年由华盛顿漫画公司
从克利普顿星发射的火箭
|
|
2:05:09
|
finally deposited its contents on the movie screen.
|
最终做成了电影
|
|
2:05:28
|
But by 1978, the crowning achievement of the decade came into focus,
|
但到了1978年
十年来最后最好的电影引起了关注
|
|
2:05:32
|
a work of art that had been playing since the end of the previous year.
|
从前一年的年底开始
就一直在播放的艺术
|
|
2:05:37
|
This film took the director much of the decade
|
这部电影花了导演十年的大部分时间
|
|
2:05:39
|
to complete and release,
|
来完成和上映
|
|
2:05:40
|
though, to be fair, it was a thesis project.
|
尽管公平来讲 这是一个毕业项目
|
|
2:05:43
|
It used music deftly to illustrate character and setting
|
它用音乐来说明人物和设定
|
|
2:05:46
|
and showed an alluring command of the medium
|
表现出突出的电影媒体能力
|
|
2:05:49
|
and would be imitated into the next century.
|
在下一个世纪里会依然被模仿
|
|
2:05:51
|
♪ Within me cries ♪
|
（《街头故事》1989年
导演：查尔斯·兰尼）
|
|
2:05:57
|
♪ I'm sure someone may answer my call ♪
|
（《乔治·华盛顿》2000年
导演：大卫·戈登·格林）
|
|
2:06:06
|
♪ Ooh ♪ ♪ May not… ♪
|
（《家庭派对》1990年
导演：雷金纳德·哈德林）
|
|
2:06:10
|
[Mitchell] Burnett borrowed Dinah Washington's "This Bitter Earth"
|
柏奈特借用了黛娜·华盛顿的
“这苦难的地球”
|
|
2:06:13
|
for its delicate heartache.
|
使用它微妙的心痛
|
|
2:06:15
|
And Martin Scorsese paid tribute to the scene in both image and music.
|
马丁·史考斯在画面和音乐上
都向现场致敬
|
|
2:06:24
|
These people I grew up with, I really admired them, you know,
|
这些跟我一起长大的人
我很欣赏他们 你知道
|
|
2:06:28
|
the fathers who, you know…
|
那些父亲 你知道…
|
|
2:06:30
|
Unlike Hollywood films, that they…
|
不像好莱坞电影
|
|
2:06:32
|
Everyone's a prostitute or doing something or leaving the family,
|
每个人都是妓女或者在做什么
或者离开了家
|
|
2:06:36
|
and a mother to take care, a single parent,
|
还有妈妈要照顾 单亲妈妈
|
|
2:06:38
|
these parents and fathers were working hard, you know,
|
这些父母和父亲都很努力工作
你知道
|
|
2:06:42
|
and I tried to be like 'em. And I grew up in a community
|
我试着像他们一样
在我长大的社区中
|
|
2:06:45
|
that I really respected the people and liked 'em because I saw who they were,
|
我很尊重他们 喜欢他们
因为我看到了他们真正的样子
|
|
2:06:50
|
and those are the kinds of people I didn't see represented in stories.
|
那些是我没在故事里看过的人
|
|
2:06:54
|
'Cause they were working-class people. Watts was a really interesting place.
|
他们是工人阶级的人
瓦茨是个很有趣的地方
|
|
2:07:00
|
When I first went to UCLA,
|
我刚去加利福尼亚大学
洛杉矶分校的时候
|
|
2:07:02
|
they had this end-of-the-quarter screening called Royce Hall Screenings.
|
他们有这种叫罗伊斯音乐厅放映会的
季末放映
|
|
2:07:06
|
And they showed all the best films that were shown at…
|
他们当年在电影学院…
|
|
2:07:09
|
in the film department that year.
|
展示了所有最好的电影
|
|
2:07:11
|
And I was taking a class with… The teacher was Basil Wright.
|
我上课的老师是… 巴兹尔·莱特 他是个纪录片导演
|
|
2:07:15
|
He was a documentary filmmaker who did Song of Ceylon, things like that.
|
巴兹尔·莱特 他是个纪录片导演 拍了《锡兰之歌》什么的
我很幸运能上他的课
|
|
2:07:19
|
I was so lucky to get in his class.
|
拍了《锡兰之歌》什么的
我很幸运能上他的课
|
|
2:07:21
|
And I remember going to the screenings at Royce Hall,
|
我记得去了罗伊斯音乐厅的放映会
|
|
2:07:24
|
and I couldn't understand a word of what was going on. I… I didn't identify--
|
我不理解每一个字 我不知道…
|
|
2:07:28
|
I mean, it was a time when the flower children was a big thing.
|
那个时候嬉皮士孩子们是很大的事情
|
|
2:07:32
|
You know, nudity, you know, going up to… going up to Topanga Canyon,
|
你知道 裸着去托潘加峡谷 你知道
|
|
2:07:36
|
you know, and the guys are getting weed and all this kind of stuff
|
你知道 裸着去托潘加峡谷 你知道 伙计们开始抽大麻之类的
|
|
2:07:39
|
and just finding themselves,
|
找到自己
|
|
2:07:41
|
rediscovering themselves and their sexuality.
|
重新找到自己和性欲
|
|
2:07:44
|
And, I mean, those weren't the issues in my community.
|
而那些不是我社区的问题
|
|
2:07:57
|
[Mitchell] Killer of Sheep demonstrated the potential of the medium
|
《杀羊人》通过一位诗人
在自己的邻里找到美
|
|
2:08:00
|
by a poet finding beauty in his own neighborhood.
|
来表现了媒体的潜力
|
|
2:08:03
|
And, of course, he was ignored by the mainstream press.
|
当然 他也被主流媒体忽视了
|
|
2:08:07
|
There was no takeaway from it,
|
即使电影制作人编了整个生涯
|
|
2:08:09
|
even as filmmakers made entire careers out of copying it.
|
而没有照抄 也没有被人记住的点
|
|
2:08:12
|
And Black film was left to wither and die.
|
黑人电影被搁置 枯萎死去
|
|
2:08:15
|
But it refused to.
|
但它拒绝死去
|
|
2:08:17
|
In every decade since 1978, there's been a rise and fall
|
1978年以来的每十年里都会有起伏
|
|
2:08:21
|
for gifted Black filmmakers who won't give up.
|
献给不放弃的黑人电影制作人
|
|
2:08:24
|
Is the lesson that those who cannot remember the past
|
那些不记得过去的人
|
|
2:08:27
|
are condemned to keep remaking Shaft?
|
都会为继续改编
《黑街神探》而被责难？
|
|
2:08:29
|
There's much talk of the pride that came out of the period, but again,
|
有很多关于那个时代的骄傲的说法
但再说一次
|
|
2:08:32
|
I think of something my grandmother said, "You don't want pride. It's a trap."
|
我想到我奶奶说：
“你不想要骄傲 这是个陷阱”
|
|
2:08:37
|
"That means you want someone to see your chest swelled up."
|
“这意味着你想让别人看到
你的膨胀”
|
|
2:08:40
|
"It's a selfish thing."
|
“这是自私的行为”
|
|
2:08:42
|
"Instead, take pleasure in what you do. That belongs to you."
|
“取而代之的是 在你做的事里
找到快乐 那是属于你的”
|
|
2:08:46
|
"It's something you want others to share in with you."
|
“这是你想让别人分享给你的东西”
|
|
2:08:49
|
It's what I got from those films.
|
这是我从那些电影里学到的
|
|
2:08:51
|
The pleasure those talents took in making the movies,
|
这些天才制作电影的乐趣
|
|
2:08:54
|
they passed on to me and to others,
|
他们传给了我和其他人
|
|
2:08:57
|
and it's a living thing.
|
这是鲜活的东西
|
|
2:09:25
|
For the dudes who ain't here, huh?
|
为了那些不在这里的人
|
|
2:09:28
|
In addition to being a repository of hope, they were empirical proof
|
除了是希望的容器 他们是经验证据
|
|
2:09:34
|
that we were here, that we exist,
|
我们在这里 我们存在
|
|
2:09:37
|
that we create culture,
|
我们创造了文化
|
|
2:09:39
|
that our community is a viable community,
|
我们的社区是一个可行的社区
|
|
2:09:41
|
is an important community,
|
是一个重要的社区
|
|
2:09:43
|
that we have voices, and that we will be heard.
|
我们有声音 我们会被听到
|
|
2:09:49
|
[Mitchell] A final note, one person symbolized all the ups and downs of the period.
|
最后一点 一个人象征着
那段时间的所有起起伏伏
|
|
2:09:53
|
Going from number one at the box office to irrelevance
|
从票房第一名到与成为
|
|
2:09:56
|
to being one of the last left standing.
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最后一位黑人演员无关
|
|
2:09:59
|
Sidney Poitier,
|
西德尼·波蒂埃
|
|
2:10:00
|
who shifted his trajectory but didn't slow a step.
|
他改变了自己的轨迹
但没有放慢脚步
|
|
2:10:04
|
He trusted his compact with Black audiences would remain intact.
|
他相信自己和黑人观众的契约
会依然完整
|
|
2:10:08
|
-[shot booms] -[yelps]
|
（《布克与牧师》1972年
导演：西德尼·波蒂埃）
|
|
2:10:10
|
[Mitchell] From 1968 through '78, he directed and starred in five films…
|
从1968年到78年
他执导并主演了五部电影…
|
|
2:10:15
|
I put my faith in the good book.
|
我把信仰寄托在圣经里
|
|
2:10:17
|
…all of which centered on characters pretending to be something they're not.
|
…所有这些都集中在
假装成为别人的角色上
|
|
2:10:21
|
Damn, man, we trusted you! I mean, why us?!
|
该死 我们相信了你！
我是说 为什么是我们？！
|
|
2:10:25
|
Why not you, brother?
|
为什么不是你 兄弟？
|
|
2:10:26
|
[Mitchell] I once asked him about this
|
我曾经问过他这个
|
|
2:10:29
|
one of the handful of times I spoke to him,
|
我跟他聊过为数不多次中的一次
|
|
2:10:31
|
all ending with him turning me down for an interview.
|
都是以他拒绝我访谈结尾的
|
|
2:10:34
|
When I mentioned that his five directing efforts were all about imposture…
|
当我提到他的五次导演工作
都是关于欺诈…
|
|
2:10:38
|
Open your eyes.
|
睁开眼睛
|
|
2:10:39
|
…he laughed and said,
|
…他笑着说
|
|
2:10:41
|
"Young man, I already have a therapist. I don't need another one."
|
“年轻人 我已经有个心理医生了
我不需要另一个”
|
|
2:10:45
|
You are capable of great feats of strength and courage.
|
你有强大的力量和勇气
|
|
2:10:50
|
Strength and courage.
|
力量和勇气
|
|
2:10:53
|
You can beat any fighter in the world. You will win the championship.
|
你可以打败世界上任何一个斗士
你会赢得冠军
|
|
2:11:01
|
-I will? -Yes!
|
-我会吗？
-是的！
|
|
2:11:05
|
[Mitchell] But being Black in America is often about remembering
|
但在美国做黑人经常意味着记住
|
|
2:11:08
|
that what you think you are isn't what other people see
|
你以为自己是什么样
并不是别人看到的样子
|
|
2:11:12
|
and figuring out the distance between those two perceptions.
|
并弄清楚那两个认知的差别
|
|
2:11:16
|
I think it's something my grandmother would have agreed with.
|
我想这我奶奶会认同的
|